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Doc Seve
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Doc Severinsen is Distinguished Visiting
Professor of Music in the School of Music for
200f-2002 and the first to hold the Katherine
K. Herberger Heritage Chair for Visiting
Artists. Severinsen's more than 40 years in
the music business, which included a 25-year
stint as the flamboyant music director for the
"Tonight Show" orchestra, is serving him well

in his contacts with students and faculry in
the School of Music.
"Doc is one of the best-known musicians
in America and, in addition to his being one
of the best trumpeters to have ever lived, he
has become a prominent pops conductor,"
notes Vayne Bailey, director of the School of
Music. "His interactiot-t with our students and
audience, is an excirirtg r.ldiriorr to our oflcrings here at ASU. I am certain that his Presence
*ill be invigolating and enjoyable for all of us'"

No stranger to the Valley, Severinsen
begins his 18th season as principal pops

.ot dn.tot fbr The Phoenix Symphony. This
yeag the international fimous trumPeter

and conductor will perform at more than
70 concerts in 40 cities across the country.
His signature of superb trumpet playing,
quich-witted barrter and original style of showmanship are what make Severinsen one of
todayt pre-eminent instrumentalists' Severinsel-t
2 The Katherine

K

Herberqer

co

ege o{

F

ne Arts

has recorded nearly 40 albums, ranging in style
from big band to jazz to classical.
Severinsen has an impressive history
to share with students while he is visiting
professor in the School of Music' His career
includes touring with the Tommy Dorsey,
Benny Goodman and Charlie Barnet Bands.
In \949, he settled in New York as an NBC

staff musician. He ioined the "Tonight
Show" orchestra in 1962 and became its
n-rusic directo r in 1967 , a position he held
until i992. His post-"Tonight Show" activities
have included several national tours with
his big band, television appearances and
musical recordings.
Severinsen is generously giving his time
and talent to this event that benefits the music
scholarship fund. lr'

Jar:uary 28, 20CI2

7:30 p.m.
Gaininage Auditorium
Tickets are $15"50; call the Public
Events ts*x tlffice, 4SA-965-3434

"fj3 y rhe time

e srudenr gr.tdu.tte' fi'om ASU'

r."'there'r .r good chance ht or she has tal<en a
class or nvo in the fine arts. Almost every major
areir of study requires some exposure to the arts
as palt of a well-rour-rded education.
fhatk a lot of studentsl About 16,500
students a year take flne arts classes, including
2,500 arts majors.
In the 2000-2001 academic year, of
all the students enrolled in fine arts classes,
49 percent were non-arts majors. In all, majors
in the arts generated 20,764 student credit
hours and non-majols generated 20,248.
Herberger College is the second-largest
provider of general studies courses at ASU,
after the College of Liberal Arts.
Obviously, both a broad range of
students and the universiry place considerable
ralue or a fine artr education.
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"By teaching a broad range of students
the value ofthe arts, we ale securing a place for
the arts to thrive. If we do our job, we'll see
fewer arts organizations forced to close their
doors," says Dean J. Robert \[ills. "Many
might begin their avocations as arts advocates
and philanthropists right in the classroom."
'As a leading fine arts college in the
Southwest, we need to ofler difTerent types of
courses! ones that help people understand and
appreciate the value of t1"re arts and its role in
the economy and education. Our classrooms
should convey the idea to people that the
culture of a place is what makes it worth
living there."
fhe college prides itself on oltfe ring
imaginatire. innovative arrs erperierrcet ro
studer.rts, and playing a role in keeping the
arts a vital part of life in the Valley.
:a Megan Krause, Communications Croup
Clcr:rmics classes are not only for fine arts majors

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Todays ASU student has an amazir-rg
:rrr:Ly

of arts

classes

from which to choose,

too. They're tearing up the dance floor in
ballroom, Latin and salsa dance classes;
jamming in music classes on the Beatles,
Elvis Presley andJazz in America; getting some
true hands-on experience in the introduction
to ceramics classes; and shooting miles of film
in rhc theatre fiim.lerter.
"Non-arts" majors of today, then,
become our audiences of tomorrow. They
will be the ones to support a burgeoning arts
community in the Valley for years to come .
Fall 2001 Season Playbill

r1

ffi mm m€$.g€mffi ffi Swae wffi m€&w ffi ffi
wffi##ffiim$mw mw€&m€&m ffiKffiffiKKmwwm
Some of the nations largest and most prestigious foundations that fund the arts are
iecognizing and rewarding artistic excellence

f".r'tlty and students at the Herberger

"-ong
College of Fine Arts. Among

the big-name

found"tiot-ts that have recently recognized
excellence within the college are the

Guggenheim, Getty and Liberace Foundations'
School of Art assistant professor Beverly
Mclver is spending the 2001-2002 school year
living and painting in the New York area,
th"rrt. to $:z,ooo Guggenheim Feilowship
"
award. The fellowships typically support release
recipients to work on maior
enabling
time,
projects with as much creative freedom as
por.it,l.. The Guggenheirn is perhaps the most
prestigious fellowship award given in-North
America to those working in the fields of
creative arts, hr'imanities, and sociai and natural
sciences. Mclver was one of iust 183 fellows
chosen for the fellowships from approximately
3,500 applicants'
"Receivir.rg the Guggenheim is a tremendous personal accomplishment for Beverly
Mclver and a wonderful reflection on the
Beverly' Mclver, Otrouse/ Drea.ms, ASU

Art Museun

\il/ills, dean
School of Art," said J' Robert
"Our
attract and
to
ability
of the college.
retain highly accomplished faculry like
Beverly is one of the key reasons we earn toP
national rankings."
A grant from the Liberace Foundation
to the School of Music is funding two Liberace
Scholars this academic year. Yali Luo fron-r
China, and Julia Ageyeva frorn Estonia, both
undergraduate piano performance majols,
are the first to benefit from this prestigious
grant. The Liberace Foundation, which the
Lusician and showman considered one of his
glcate\t achievements. hat givcn more then
$r million irr sttrdent scholarshipt 'ince its
inception in 1976. Liberace knew the value
of student grants and scholarships. He was
a recipient too.
Wayne Bailey, director of the School
of Music, says the foundation is dedicated to
helping young pianists achieve their dreams
of pi""" .t.tdy it major music schools' "People
often think of I-iberace as a flashy entertainer
interested in sequins and candelabras, but he
was a serious pianist and began his career as
a concert pianist."

'fhe

Guggenhein-r ar.rd Liberace grants

follow on the heels

ofa $125,000 grant
from the Getty
Education Institute
to Alt professor Mary
Erickson and the
Hispanic Research
Center's Gary Keller
Cardenas. F,rickson
and Cardenas received
the grant to create an
online course titied 'Art

"d "J

Appreciation and Human
Development. " Erickson,

$**
.

"r'
*i

$

who has been creating
websites for the Getty
Institute since 1996,
is the creative force

behind at least eight

r\
I

The Katherine

K

Herberqer

co

eqe of

F

ne Arts

major web projects.
ia Jennifer Pringle,
Communications CrouP

Ecluardo Kac, The Eighth Day, transgenic artwork, Computing Commotts Gallery

r:+ll
:

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Genetically engineered mice, fish, amoeba and
plants that glow in the dark are all part of
The Eigbth Day, a provocative new exhibition
opening at ASU this fall. The Eighth Day is
conceived by Eduardo Kac, the artist who
sparked an international fulor with the bunny
that glows in the dark. The exhibition
runs Oct. 25 to Dec. 14 in the Computing
Commons Gallery.
Kac has been a visiting artist at the
Herberger College's Institute for Studies in
the Arts for the past two years. He and ASU
biologists Alan Rawls and Jeanne Wilson-Rawls
obtained the green fluorescent protein (GFP)
life forms, which are creat€d for use in scientific
research by cloning a gene found in jelly fish
and adding it to other creatures in the embry-

onic stage. The results are creatures that emit a
fluorescent glow when placed under blue light.
Kac's work, including The Eighth Day
and Alba the GFP bunny, is designed to
stimulate debate about the scientific practice
of genetic manipulation. He calls his new art
form "transgenic art." Through it, Kac seeks
to put today's new discoveries in a real world
context, highlighting the social and philosophical r-amifications of genetic breakthroughs and
questioning commonly held assumptions about
lile. technology and communicat ionr.

"I'm not

a scientist," Kac says.

"My work

is not a contribution to science in the strict
sense. However, these concerns are not exclusively for science. They belong to us all."
The self-contained, artificial eco-system,
designed and fabricated by ISA technologists,
resonates

with the words of the title, which

adds one day to the creation period ofthe
world, as told in the Judeo-Christian scriptures.
Every living thing in this new ecosystem
has been created using scientists' new ability

to manipulate the building blocks of life.

"While fluorescent creatures are being
developed in isolation in laboratories, seen
collectively, they form the nucleus ofa new
and emerging synthetic, bioluminescent
system," Kac says. "The piece brings together
living, rransgenic lile Forms in an environment
enclosed under a clear Plexiglas dome, thus
showing what it would be like if these creatures
were to coexist in the world at large."

The exhibition also will feature a biobot,
which is a lobot partially controlled by a
colony of GFP amoeba. The robott "eye"
can be manipulated by Web viewers of the
exhibition, enabling a woridwide audience
to view and to participate in The Eighth Day.
:', Jennifer Pringle, Communications Croup

Fall 2001 Season Playbill J

Fall programs engage
local children,
adults in the fine arts
Art. Dance. Music.

Theatre.

They are the cornerstone academic
units of Herberger College. Fittingly, they
also are ar the heart of rwo major Progralns
sponsored this fa1l by the college.
The ASU to jtaz community classroom
series for adults and the Fall 2001 Arts in rhe
Desert Workshops for children connect community membe rs with facuity, staff and students
from all four fine arts disciplines.
"Providing opportunities that connect
the commut-tity to all four of these art forms
is a real priority for the college this year," says
Melanie Ohm, coordinator of community programs. "Partnering with other organizations is
an important element of our programs as well."
Faculty fi'om art, dance, music and
theatre, a resealcher from the college's Institute
for the Studies of the Arts (ISA) and a senior
clrratol from the ASU Art Museum will lead
discussions in the ASL/ to You cornmrntry classroom seties.'fhe six-session series explores the
dynamic dialogue between the arts and society
on issues such as globalization, technology, the
environment, race, self-discovery and prejudice.
ASL| to )'oz is co-sponsored by City of
Tempe Cultural Services and the Friends of the
Tempe Public Library. All events are held at
the Tempe Public Library, 3500 South Rural
Road. A book discussion group relating to
artists and their roles in sociery complements
the discussion series.

The college is partr.rering with the
\flilliams Community School of the ASU East
Villiams Campus in Mesa fol the Fall 2001
Arrs in the Desert Workshops for children.
In these nine-week workshops, graduate
students and staff of the college guide
children ages 1-1 I as they engage in lively
art. .lence. ntusic an.l rheatre experiences.
Fun and educational activities encourage
creativiq' and imagination. Parents of children
ages 1 7 share in their childrent arts experience

in InterAct for Families
ages

6-l

1 enjoy flexing

Workshops. Childre n

their independence

{i The Kather ne K. Herllerger Co lege of Fine Afts

and imaginations in Creative Drama and
Creative Movement workshops.
Ohm says a recently formed council,
which includes ltaculty, staff and students from
art, dance, music and theatre, was instrumental
in shaping the rnulti-disciplinary approach.
For n-rore information, contact Melanie
Ohm, 480-767 -6639.
n Tiacel Benson, Communications Group

ASU to You
'Vflhat:

A free community classroom

series exploring the dialogue between the

arts and society

'Where:

Tempe Public Library, 3500
South Rural Road (southwest corner
Rural Road and Southern Avenue)

of

'When: Tues., Sept. 25, 6:30-8 p.m.,
moderaror Mark Sunl<eLr, percussionist
and professor of music; Ti-res., Oct. 16,
6:30-8 p.m., moderator Sheilah Britton,
artist and researcher, ISA; Ti.res., Nov. 6,
6:30-8 p.m., moderator Mark Klett,
photographer and professor ofart; Tues.,
Jan. 29,6:30-8 p.m., moderator Heather
Lineberry, senior curator ASU Art Museum;
Tues., Feb. 19, 6:30-8 p.m., moderators
Jennifer Tlukayama and Mary Fitzgerald,
choreographers and assistant professors of
dance (with a performance by Dance
Arizona Repertory Theatre); Tues., March 5,
6:30-8 p.m., moderator Guillermo Reyes,
playwright and assistant professor of theatre.
Free coffee service provided by Jitters

Gourmet Coffee. Guests are invited
to linger after each event for casuai
conversation and a second cupl
For information on book discussion groups
relating to this series, call 480-350-5508.

School of Music

A Dance

through Tirne

The first of five organ concerts in the
Herberger College of Fine Arts Mainstage Series

Kimberly Marshall, organ
Organ Hall, Music Building
September

30,200I

2:30 p.m.

--4ferberserCollese
oof
Fine ArtsD

Program
Passacaglia

Dieterich Buxtehude
,1637-1707)

in D mirror, Bux\X/V'i61

Estampie Retrovd from the

Robrribridg, Codex, c.1360 (Sections
ChoreographY: Ann Ludwig

Anonymous

1-3)

Costume Design: Galina Mihaleva
Dancer: Raymond Shaw
Three Renaissance dances fiom Intabolatura nova,
Le Forze d'Hercole
Venetiana gagliarda
Passamezzo antico

1551

published by Antonio Gardane
(1509-1569)

pavenne/Galliarde

published by Pierre Attaingnant,
Paris, 1531

Estampie Retrovd from the
Robertsbridge Coclex, c- 1360 (Sections 4-5)

Anonymous

Partite sopra Follia

Girolamo Frescobaldi
(1583-1643)

Anton Heiller

T!nz Toccata

Pavana

(1923-1979)
Jan Pieterszoon Sweelinck

lachrimae

(tt62'162r)

Ba1lo del Granduca

Choreography: Richele HenrY

Solo,Ri'.h.l.HenryTrio:AndreaDelmonico'EmilyFinch'AmandaLukas

Passacaglia

ii

in C Minor, BWV 582

the Katherine

K. Herberger

college o{ Fine Arts

Johann Sebastian Bach

(168r-r750)

Notes
Todays program cxplores tl-re var-ied legary of organ
n-rusic that was inspired by dance melodies and genres.

This may seem at odds with tl-re traditional fur-rction of
the instrument within the Christian liturgy, but it is
important to remember that sir-rce its invention ir.r the
third century belore the Christian era, the organ has
often been used to play secular music, even to the

point ofaccompanying gladiators as they fought in the
arer-ra! Small organs in medieval and Renaissance
Eulope participated in the performance of dance music
and popular songs, and by the Baroque, certain dance
rypes had been srylized to accommodate rhe or-namentation and virtuosic figuration ofsolo keyboard music.

In this "Dance through Time" we will trace the development of organ music from the late Middle Ages
through the twentieth century lear:ning how dar.rce
genres were adapted ro the different organ styles

in

Germany, Italy, France, Austria and the Netherlands.
The Passacaglia (from "pasar" to walk, and

"callc" street) originated in the early 17th century as
refrain lor a special rype ofsor-rg in Italy and Spain.

a

board music. "Ihe pieces are identifiable as esrampies
by their form, where sections known :rs puncra are
repeated with differenr endings. Each punctus has rwo
endings, labeled "open" and "closed;" the open ending
provides a link back to the beginr-ring of tl-re punclrs
lor the repeat, while the closed ending concludes the
section. In Rctrovd each punctus ends in a dillerent
way and reenters the text ofthe firsr punctus at a different point, so rhat rhe organist must literally "find
again" the way ro rhe repeated endings.

The dance excerpt is from'A Courtly A1lair,"
WII and his Queens, a production by A
Ludwig Dance Thearre, ro premiere January 28February 3,2002, ar rhe Gmpe Performing Arts
-fhe
Henry

Center.

estampie

will be divided into two secdons

which frame the Renaissance dances on the program.
The next three pieces on rhe progran are
Renaissance dances taken fi.om Antonio Gardane's
publication of 1 55 1, Intaboktura noua. Forze
d'Hercole (The Labors of Hercules) is a charming
pavane, a processional courtly dirnce in duple meter.
The Venetian galliard is in a conrrasting triple meter,

During the second quarter of the century, it developed
into a variation form built upon a repeated bass line

where repeated chords accompany the athletic jumps
ofthe dance. The Passamezzo antico consists ofthree

or harrnonic pattern, similar to the variations of the
ciaccona, a courrly dance. lbdays program opens and

variations, where the increasing complexity of the fig,
uration suggesrs that the group was conceived as a

closes

with examples of the passacaglia by Germur

composers, where pedals are used to play the ostinaro
bass. Bu-rtehude's Passacaglia in D minor features four
main sections in diffelent key centers. The repeated

foundation over which Brxtehude
rhythmic
differences. The shift between triple and quadruple
subdivisions ofthe beat produces increasing rension in
rhe finJ section of rhe uork.
Estampie Retrov6: In 1388, KingJohn of
bass

line serves

as a

creates variations that exploit textural and

A.r'agon wrote to his brother-in-law and sister, the

Duke and Duchess of Burgundy, ro requesr lor hi,
musical esrablishment the services of the organist
Jehan, who played the cheRer (probably a harpsichord or clavichord) and the small organ. In anorher
letter the King adds: 'And tell the said Jehar-r to bring
the book in which are notated the estampies and other
works that he knows how to play on tl"re cheld<er and
organ." In this unlikely epistolary source we find the
first known reference ro a score of keyboard music, a
book containing estampies, a rype of medieval dance.

This information ties in beautifully with the presence
of estampies in the Robertsbridge Codex, rwo manuscript folios believed to contain the earliest extanr key-

variation set, perhaps rhe earliest in keyboard history.
The first published keyboard music in France
was issued by the publisher Atraingnant in 1531,
including a volume of dance arrangements. The
Pavenne is a graceful dance in the same sryle as the
Forze d'Hercole heard earlier, while the robust

Galliarde is its companior-r piece, adapting rhe same
melodies and harmonies to triple meter-.
Girolamo Frescobaldi was a renowned virtuoso

of the organ whose music reflects the dazzling passagework and striking harmonic conrrasts of the Italian
Baroque. His fertile imagination and command of the
keyboard technique are displayed in the lively Partite
on the Follia. This was a sung dance that originated ir-r
Spain early in the 17th century. Covarrubias Horozco

in I 61 1 thar the tide "folia," meaning mad or
empry-headed, was adopted bccause the dance was so
fast and noisy rhat the dancers scemed ro be deranged.
wrote

The repeated chord progressions of rhe dance were
avidly taken up by instrumenralists, who added elaborate ornamentation and expressive figures.

Antorr Heiller was one of the most respected
organ teachers of the twentieth century. A native of
Vienna, he spenr almost forty years as a student and
Fall 2001 Season Playbitt

iii

then professor at the renowned Academy of Music
there. His plal4ul Tanz (Dance) Toccata is a study in
rhythmic manipulation, alternating groupings in three
and five and seven. This virtuosic showpiece builds to
several dramatic climaxes where the organist is literally
dancing on the pedals!
Known as the "Orpheus ofAmsterdam," and "the
Maker of Organists," Sweelinck was a seminal figure in
the creation ofa "northern" school oforgan composition. His Pavana lachrimae is based on the lamolls song
"Flow my tears," by the Elizabetl'ran composer ]ohn
of the Grand Duke, Sweelirrck
creates elaborate reble and bass solos around the repeated harrnonies of the dance. He may have used for these
lines a very pungent combination ofreed sounds
Dowland. In

tl-re Dance

(Tiompete with ZincQ, found on the upper manual

of

his large organ at the Oude Kerk in Amsterdam.
The program closes with perhaps the finest

for organ, Bach's lamous
work in C minor. The first half of the bass line upon
which the Passacaglia is constructed is lound in the
Christe to Andrd Raison's Mass on the Second Tone,
dthough we do not know that Bach consciously adapted it from that source. (The opening fifth and subsePassacaglia evcr composed

quent semitones are characteristic intervals for
Passacaglia themes and were also found in the
Buxtehude exarnple that opened this concert.) There arc

twenty-one statements of the Passacaglia, which lead
direcdy to a masterlul {irgr.re, whose subject is based
upon the first half of the Passacaglia theme. Every entry
of the subject is accompanied by two countersub.jects,
creating a pertnutation lugue of exhilarating complexiry

Kimberlv Marshall

Biographies
since I977, Ludwigt work has been seen throughout
the US and \Twstern Europe. Additional information is available at wu'r,v.aludwigdance.org.

Krl,reERLv Menssen
maintains an active career
as an organist and scholar,

perlorming regr-rlarly in the
US and Europe. She

RanaoNo Srmlir holds an MFA in Dance from

is

Associate Prolessor of Music
and Associate Director for

Graduate Studies in the
Herberger College of Fine Arts
School of Music at ASU, having previously held teaching
positions at Stanlord University and the Royal
Academy of Music, London. Vinner of the St. Albans
Competition in t 985, she has been invited to play in
prestigious venues and has recorded

lor Radio-France,

the BBC, and the ABC. Her compact disc recordings
leature music of the Italian and Spanish Renaissance,
French Classical and Romantic periods, and works by
l. S. Bach. Her concert engagements include NotreDame, Paris, Chartres Cathedral, Londons St. Paul's
Cathedral and Royal Festival Hall, Kingk College,
Cambridge, the Dormition Abbey in Jerusalem
and the Mormon Tabernacle in Salt Lake Ciry
Dr. Marsl-rall has just returned to ASU lollowing
summer engagements in Canada and Korea.

ANN Lunwrc is a Prolessor of Dance at ASU and
Artistic Director of A Ludwig Dance Theatre.
l-udwig came to ASU ir-r 1979; her current role
includes advising graduate stlrdents in dance, teaching graduate choreography, graduate pedagogy, and
unclergraduate pl'rilosophy and criticism. As director
and choreographer of A Ludwig Dance Theatre,
iv

The Kather ne K. Herllerger Co lege of Fine Arts

ASU. This is his first perlormance with A Ludwig
Dance Theatre. He is fi'om Cleveland, Ohio, where he
worked prolessionally as a director, choreographer and
performer for over fifteen years with credits ir-rcluding
El Gallo in "The Fantastics,", Uncle Mar in "The
Sound of Music", ancl Dar-rny Ztcco ir:' "Grease."

RrcnErn HENRy is a senior and will receive a BFA
in Dance Education in May 2002. Ms. Henry
received the Herberger College of Fine Arts Studer.rt
Enrichmer.rt Grant and Summer Dar-rce Scholarship,

which enabled her to attencl the Baroque Ballet
-Workshop in San Francisco this summer. Ms. Henry
would like to thank her dancers lor their hard work
and inspiration lor the characters. She and her dancers
are thrilled to have the opportunity to collaborate

wirlr Dr. Mersh.rll orr Lhir ploject.

GertNa Mrnernva

is the Costume Coordinator

lor the Department of Dance. Born and raised in
Bulgaria, she emigrated to the United States after
earning a master's degree in fashion design and
textiles lrom tl're Academie of Fine Arts in Sofia.
\(/inner ofthe grand prize from lnternational
Furnishings and Design Association in 7995,
Galina's innovative designs are comn-rissioned

privately by a number of lashion leaders.

Gollege alumni driving public art
programs in phoenix ana beyond
A pederrrian bridge over a
echoes rhe siihouerte

ma jor urban lreewav
of nearby mounrains_

Bu' 'helrcrs arrfirlly blend indigenous

deserr

materials with imagery of flighifi.om nature
and the aeronaurics industrv.

Works of public art sirch as these
increasirrgly are being inregrared inlo
old spaces

and neu con\lrucrion in rhe VaJley oFrh.
And alumni from the School of Art, now
working as a.rrisrr arrd
are ieading this drive.
Nowher-e

in

in Phoenix, which

Sr,,,.

public art adminisrraror,,

the Valley is this truer than
boasts the largest publi.

program in rhe Valley in borh budg.i ,nd ".t
number ol projecrs complered and under*ay.
The manageme nr sralf ol'rhe phoenir Arrs
Comrnission, the ciq' agency rhat directs public
rrr program\, is conrposed e nrirely oF School

has garner-ed

national arrenrion. (In
June,
Lundquist was named Mesa's first
i,,
"rii.t
residence, as part of that city,s emerging
public

art program.)

More recenr School of Arr qrads are ioin_
rhe ranks of public arrisrs rr ri.tt. Ta,r,;;
f8
Frey. who earned he r BA in sculprrrr.
in Snrir"
200 I , and Eric Franklin rBFA. sculprur., 100)'
rece nlly rook parr in a me nroring
program
sponsored by the phoenix Arts C"om#ssion
rhar.paired emerging arrisrs wirh errablirhed

public artists.
.\r. Tracey

Benson, Communications Group

of Arr gradrrares or prolessionals purruing
art
degree\ rhere. rccor.ding ro Creg Errer,
pJblic
al't Program manager.
"You mighr say rhar we wouidn.r
be

rl rt weren r for rhc School of Arr." quip,

her.e

[q5sp.

who will ear-n his master of fine
"rtr'1Uf4y---'
degree in intermedia from the Schooi
of Art

in December.

Other School of Art graduares on rhe
sr:lrf arc projecr marragers ,{-nn AJg.r. M.,:i"

Navarre and Chrisrini Kelley_Burlwa:
arrs

col.lecriorr manager Dora Hernandez;
and
public arr program a\\islanr Vanesra Mallorv.
Projecr manager Jana Weldon currenrlu
i. '
pur''uing a degree in arr hisrory.
Many of the arrisrs commissioned
ro worl< on Ploenix s public arr projccrs
are
alumnl as well.

.

Prolific public artist Kevin Berr.y (MFA,

sculprrrre.'8-) l.ecenrly complered r r.ri.,

ol five

bus shelre rs ar phoenix Skv Harbor
lnrernarional Airporr. *hich *ere creared
tfrlu8h rhe c.irys public arr program as pan
ol the alrpofl s erpansiorr.
Bcrry (BA. arr hi,rory..g6),
, is. Tlrah.Rider
who
married ro Kevin Berry. recenrly

compieted a commission by pho.rril< 6.
,.,
original, phorographs, *i.li.h .r. no* , "
prr,
ol rhe cirys permanenr arr collecrion.
Laurie Lundquist (MFA, sculpture, ,90)
creared the srrikingly sculprural pedesrrian
bridge rhrr rpan. rhe Squarn peal parkway
oF

and

Bus shelter clesigned by School

olArc alum Kevin

l3crr1.

Alumni luncheon ro sporlighr
status, future of the arts"
in Arizona and the nation

ASU alumni Shelley Cohn (MA, humani_
tres. '-5), execurive direcror of rhe
Arizona
Commission on rhe Ans, will discuss the
status and future of the fine arts in Arizona
and the narion on Nov. 3 at Come Home
to the Arts: Tbe 3rd Annua/ Reunion
anr/
Lunclteon. The event will bring together
graduates from the arr, dance,"m.,ii.
"rrd
theatre programs of the Herberg.. Cott.g..
The event will be hetd from t tI:O to Z
i.m.
at rhe Desert Botanical Garden, 1201
N:
Galvin Parhvay, in phoenix. For reserva_
tions and information, call 4g0_767_77g5.

Fall 2001 Season playbiil 7

ffiKmkw*mEm
The lights go down, the curtain goes up, and
the enihanting experience of a live performance
begins.

But behind the scenes, the show you are
about to see probably has been in the works for
almost a year.
Herberger College schools and departments begin thinking of ideas for Mainstage .
shows in ihe academic year prior to the show's
opening. For exampie, the Theatre and Lyric
C)p.t" Th.",te production groups ah'eady have
begun thinking of suggestions for shows to be
performed during the 2002-2003 season.
Once a season is set - including picking
the directors, designers, venues and ticket
prices - rhe meetings begin.
"First concept" meetings are held among
the productionk director and its designers.
Theie include scenery, costume' lighting and
sound designers. The group discusses the
director's concept or vision for the show, so
designers have an idea how to begin their-work.
These vital designers then get very busy;
they'll spend the weeks before opening creating
the charm and ambiance of the production.
Scenery and props will be sketched, built,
painted and "loaded in;" fabric and costumes
will be measured, cut, coustructed and fitted;
lighting will be hung, "cabled" (connected),
fo..t.ed and "level-set" (meaning, the cues will
E

t
". "-"o,

r

a

. h^rb6rg-..o

pgo ol l rrc

A:

mKamruww

be written); and sound will be researched,
recorded and level-set as well.
These ideas are further explored in "first
roughs;" these are meetings in which designers,

the director and the "TD" (the technical
director) present their ideas and assess scenely'
budget and time needs. If anyonet ideas
in the director's vision, nowt the time
"r.trl
to speak up.

Before launching into rehearsais, some
directors will get their cast's creative juices flow-

ing with improvisation sessions, field trips to
r..l.rr"r-rt locales or research into the time, place
and history of the script. Actors may write a
character bio, or create a collage on important
themes from magazine images.

During "tech and

dress week,"

it all

comes together. The week before opening, the
director, actors, designers and technicians spend
about 32 hours over five days running technical

and dress rehearsals. Did the lighting come on
cue? Is the sound too loud? Did someone skip
a line? Now's the time to figure it all out.
Soon the "run' will be over, the curtain
will come down, the applause will die down
and the make-up will come off. It will be
time to do it all over again for another college

production.
.:r Megan Krause, Communications Croup

up and
go?

s$4*gg!dt'
'
j:j':-,,1r"*'*'_*'

General Inlormation
GENERAL BOX OFFICE
Serving Dance, Lyric Opera Theatre, Theatre,

0rgan Series and the lnstrtute {or Studies in
the Arts:
Galvin Playhouse/Nelson Fine Arts Center
480-965-6447
Hours: 10:30 a.m.-6 p.m., Tuesday-Friday

noon-4 p.m. SaturdaY
FACILITY BOX OFFICES

Dance Theatre
132 Physical Education Building East
Opens one hour before Performance
Galvin Playhouse: 480-965-6447
0pens one hour before performances,
plus regular hours of 10:30 a.m.-6 p.m.
Tuesday-Friday, noon-4 p.m. Saturday
Lyceum Theatre: 480-965-3437
0pens one hour before performances
fvelyn Smith Music Theatre: 480-965-3398
0pens one hour before performances
Gammage Auditorium: 480-965-3434
0pens one hour be{ore performances

EMERGENCY MEESAGES

Physicians and other patrons expecting calls
during a performance are asked to give their
seat locations and paging devices to the
House Manager. All checked paging devices
will be monitored throughout the performance
and can be picked up from the House Manager
following the performance. Pairons who need
to make an emergency phone call should
contact an usher or the House Manager for
assistance. (Be sure to leave seat locations

with your

sitterl)

.i,

."

EMERGENGY PHONE NUMBER$

]]U,

ASU Public Safety: 480-965-3456
Galvin Playhouse: 480-965-6447
Gammage Box 0ftice: 480-965-3434
Lyceum Theatre Box 0lfice: 480-965-3437
Evelyn Smith Music
Theatre Box Ollice: 480-965-3398
LATE SEATING POLICY

Late-arriving patrons will be seated at the

FACILITY POLICIES
Due to ihe disturbance to other patrons and to

discretion of the House Manager. lt is often
impossible to seat late-arriving patrons until
an appropriate break in the performance'

performers on stage and in observance
of copyright laws, the use of cameras and
recording devices is strictly prohibited;

THEATRE AND AUDITORIUM OPENINGS
Seating areas open 30 minutes before

cameras are to be given to house manager
to lock up. Patrons also are asked to please
turn ofi watch alarms, pagers and cell phones.
Food, beverages and smoking are
not permitted in facilities.
GROUP SALES
Put together a gr0up of 20 or more family,
f riends, neighbors or co-workers and
save with grouP discounts. TheY're

available for many performances. Simply
call the Herberger College Box O{fice,
480-965-6447.
CHANGE OF ADDRESS

Season subscribers are encouraged to noiify
us about a change of address. We want to
keep our records accurate and keep you
informed of new developments. lf you move,
please call or write with the new information.
l0 rhe ratherin" K. Herberqer

College of Flne Arls

curtain time.
LOST AND FOUND

Galvin Playhouse: 480-965-6447
Gammage Auditorium: 480-965-3497
Lyceum Theatre: 480-965-6447
Evelyn Smith Music Theatre: 480-965-6603
Phydical Education Bldg East: 480-965-6447
PATRONS WITH PHYSIGAL DISABILITY
The college welcomes all patrons to our
performances. Seating for patrons with a
physical disability is available in all facilities
and may be requested when purchasing
tickets. Parking spaces designated for
patrons who have a physical disability are
located in all Parking lots.

6E

Parking
Free on-campus parking is available weekday
evenings after 7 p.m. and for most weekend
events, Saturdays and Sundays. Exceptions are
restricted, metered parking, visitor/pay lots and
residence hall lots, as noted on the signs at the
lot entrances.

The following are suggested parking instructions
for Herberger College of Fine Arts facilities:
GALVIN PLAYHOUSE
(NELS0N FtNE ARTS CENTER)
Evenings and Weekends:
Lot 3 on Gammage Pkwy.
Parking Structure 3 on Myrile Ave.
GAMMAGE AUDITORIUM
Evenings and Weekends:

-

Those attending weekday (Monday
Friday) events held during the hours of
7 a.m. to 7 p.m. must use designated "Visitor
Parking" areas (metered or paid). parking
designated for those with a physical disability
placard or license plate is available in all
parking areas.
Please read posted signs and avoid parking
in reserved or restricted spaces. We cannot
assume responsibility for parking violations.

Lot 3 on Gammage Pkwy. (Arrive earlyl)
Patrons arriving less than 30 minutes
before curtain should go direcily to
Parking Structure 1 on Apache Blvd.
LYCEUM THEATRE
Evenings and Weekends:

Parking Structure 3 on Myrile Ave.
DANCE THEATRE/ 132 PE BUILDING EAST
Evenings and Weekends:

N0TE: There is a charge lor anyone parking on campus before 7 p.m. on weekdays.
Metered parking is in elfect on Saturdayi.
Metered parking is free on Sundays.

Lol42 alOrange Ave. and McAllister Ave.
Parking Structure 4 at 0range Ave.
and McAllister Ave.
EVELYN SMITH MUSIC THEATRE
(MUStC BUtLDtNc)
Evenings and Weekends:

Drama City
Architecture
Nodh/So!th

Parking Structure 3 on Myrtle Ave.

ar!

Tempe Center

Matthews Hall Nodhlrqht Gallerv

Ceramics
Research

.

ASU

Center
Art Museum

ll

lLll
=

Nelson

Arts Center
. ASU Art Museum
. Galvin PJayhouse
. Dance Lab
Musi(
Suilding
. lvelyn 5m;th
Music Theatre

. organ Hall
. Katzin

llI

f

Matthews
Center

Lln*itutetor
\T!die<

rh

1 tuo*lr

,---;;J

Con(ert Hall

:'-*u''':
Parkinq

iot

E@
*All campus parkinq i5 FREE after 7 o.m
weekdays and Saturday and ALL day on
Sunday. Exceptions include rettrided.
metered. vkito/pay and residential hall
ois, as noted at the entranceto each lot
and special event days.

.I
ft

EL

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ftse"4**k
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Who will inspire and enlighten us a decade
lrom nor,v?
Just look around.

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You'll llnd the ansu.er herc.
Morc than 2,500 students annually studyArt,
L)ance, Music anclTheatrc at thc Herberger

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College, an emerging national lcader in
fine arts eclucation. With programs that
earn top national rankings, the college strives
to bc a vibrant, innovativc and accomplished
environmcnt, onc fircused on collaboration
ancl community'.
Private contributions make possible thc high
levcl of academic and crcative Programs
that state lunding and tuition alonc cannot.
Your gift to Herbcrger College is an
invcstment in thc futurc of the line arts.
For information on holv vou can invest in
tomorro\\r todav, please contact Deanna
Stulgaitis, associatc director of dcvelopment
and alumni relations, at 480-965-8985.

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Thc Katherine K.

-4f=crberge"1p""ll:g"
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at

Arizona State Univeryitv