Doc Seve
Yhe inecz:rpatrable Sse
$everinsen ccnducts axrd
performts with three cf
the top ensesm.bles is1
the *f,erberger 6o31ege's
$chos1 of SVIusie - the
{trnivexsity $yrmpheny
Orchestra, the Wind
Syrnphomy ared the
Coneest lazz Sand in a $an, &8 concert at
G ams'nage "Kudit*r iumr "
Doc Severinsen is Distinguished Visiting
Professor of Music in the School of Music fbr
2001-2002 and the first to hold the l(atherine
K. Herberger Helitage Chair for Visiting
Artists. Severinsen's more than 40 years in
the music business, which include d a.25-year
stint as the flamboyant music director for the
"Tonight Show" orchestra, is serving him well
in his contacts with students and faculty 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 conductoq"
notes Wayne Bailey, director of the School of
Music. "His interaction with our students and
audiences is an exciting addition to our offerings here at ASU. I am certain that his presence
will be invigorating and enjoyable for all of us."
No stranger to the Valley, Severinsen
begins his 1Sth season as principal pops
conductor for The Phoenix Symphony. This
year, the international famous trumpeter
and conductor will perform at more than
70 concerts in 40 cities across the country.
His signature of superb trumpet playing,
quick-witted banter and original style of showmanship are what make Severinsen one of
todayt pre-eminent instrumentalists. Severinsen
2 The Katherine K Herberqer co ege of

F

ne Arts

has recorded nearly 40 albums, ranging in style
from big band to jazz to classical.
Severinsen has an implessive history
to share with students while he is visiting
professor in the School of Mr-rsic. His career

includes touring with the Tommy Dorsey,
Benny Goodman and Charlie Barr.ret Bands.
In 1949, he settled in New York as an NBC
staff musician. He joined the "Tonight
Show" orchestra in 1962 and became its
music director in 1967, a position he held
until 1992. His post-"'Ionight 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. ll

Januarv 28,
1F
1/:JU
.p.m.
Garamage

200:

Auditorium

'l-ickcts arc $ l(r.50; call rhc I'uhlic
Events Box OlTice, 480-c)65-3434

._s / rhe time a studerrr graduaret lrom ASU.
,%Bthere's a good chance he or she has taken a
class or two in the fine arts. Almost every major
area of study requires some exposule to the arts
as part of a well-rounded education.
That's a lot of studentsl About 16,500
students a year take fine 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 genelated 20,764 student credit
hours and non-majors generated 20,248.
Herberger College is the second-lalgest
providel of general studies courses at ASU,
aftel the College of Liberal Arts.
Obviously, both a broad range of
students and the universiq. place considerable
value on a fine rrrr etlucation.

"By teaching a broad

i.

ofstudents

th.

value of the alts. we are recuring r place For
the arts to thrive. If we do our job, we'Il see
fewer arts organizations forced to close their

doors," says Dean J. Robert Wills. "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 offer different types of
courses, ones that help people understand and
appreciate the value of the 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."
The college prides itself on offering
imaginarive. innovative arts experiellces ro
students, and playing a role in keeping the
arts a vital part of life in the Valley.
:': Megan Krause, Communications Group

"ffi"g*:'".a9t&:a:xaug
Ceramics classes are not only for fine;rrts majors

:::r ':?;fez 1:
'L-',,4*

:

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Todays ASU studer.rt has an amazing
array of arts classes fi'om which to choose,
too. They're tealing up the dance floor in
ballroom, Latin and salsa dance classes;

jamming

ir-r music classes on the Beatles,
Elvis Presley andJazz in America; getting some
true hands-on experience in the introduction
to ceramics cl:rsses; and shooting r-niles of film
in the theatle film cl:rsscr.
"Non-arts" majors of today, rhen,
become our audie nces of tomorrow. They
will be the ones to support a burgeoning arts
communiry in the Valley for years to come.
Fall 2001 Season Playbill 3

ffiwmmu-#Fffiffi ffi Swwmffim€Rwffi.ffi
Kffiffiffiffiim&mm mw*$m*$m ffiKffiffiRKmmmm
Some of the nation's largest and most prestigious foundatior-rs that fund the arts are
recognizing and rewarding artistic excellence

among faculty and students at the Herberger
College of Fine Arts. Among the big-name
foundatior-rs that have recently recognized
excellence within the college are tl"re
Guggenheim, Getty and Liberace Foundations.
School of Art assistant professor Beverly
Mclver is spending thc 2001-2002 school year
living and painting in the New York area,
thanks to a $37,000 Guggenheim Fellowship
award. The fellowships typically support release
time, enabling recipients to work on n-rajor
projects with as much creative freedom as
possible. T'he Guggenheim is perhaps the most
prestigious fellowship award given in North
America to those wolking in the fields of
creative arts, humanities, and social and natural
sciences. Mclver was one of just 183 fellows
chosen fbl the fellowships from approximately
3,500 applicants.
"Receiving the Cuggenheim is a tremendous personal accomplishment for Beverly
Mclver and a wonderful reflection on the
Beverll'Mclver,

(ldrousal

Dredrr, ASU Art Museum

J

School of Art," said J. Robert \7il1s, dean

of the college. "Our ability to attract and
retain highly accomplished laculty like
Beverly is one of the key reasons we earn top
r.rational rankings."

A grant from the Liberace Foundation
to the School of Music is funding two Liberace
Scholals this academic year. Yali Luo fi'om
China, and Julia Ageyeva from Estonia, both
undergraduate piano pelformance majors,
are the first to benefit from this prestigious
grant. The Liberace Foundation, which the
musician and showman considered one of his
great€st achievements, has given more than
$4 million in student scholarships since its
inception in 1976. Liberace knew the value
of student grants arrd scl'rolarships. He was
a recipient too.
\fayne Bailey, director ofthe School
of Music, says the foundation is dedicated to
helping young pianists achieve their dreams
of piano study at major music schools. "People

often think ofLiberace

as a flashy entertainer
interested in sequins and candelabras, but he
was a serious pianist and began his career as
a concert pianist."
The Guggenheim and Liberace grants
follow on the heels
ofa $125,000 grant
from the Cetty
Education Institute
to Art professor Mary
Erickson and the

Hispanic Research

Centert Gary Keller
Caldenas. Erickson
arrd Cardenas received
the glant to create an
online course titled 'Art

A

Appreciation and Hunran
Development. " Erickson,

-.t
.*
.s {"
r
tr
''e' f

1'&

a

j

lF\
-!\
'l The Kather ne K Herberger co eqe of

F

ne Arts

wno
nas been
who has
Deen creannS
creati
webrites lor rhe Gcrty
Institute since 1996,
is the creative force
behind at least eight
major web projects.

:a Jennifer Pringle,
Communications Group

Ednardo Kac, The F:ighth Drry transgenic artwork, Computing Commons G:rllery

Genetically engineered mice, fish, amoeba and
plants that glow in the dark are all part of
The Eighth Day, a provocarive new exhibition
openirrg at ASU this fall. The Eighth Day k
conceived by Eduardo Kac, the arrisr who
sparked an international furor 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 arrisr ar the
Herberger College's Institute for Studies in
the Arts for the past fivo years. He and ASU
biologists Alan Rawls and Jeanne Wilson-Rawls
obtained the green fluorescent protein (GFP)
life forms, which are creared for use in scientific
research by clonirrg a gene found in jelly fish
and adding it to other crearures 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 pracrice
of genetic manipulation. He calls his new art
form "transgenic art." Through it, Kac seeks
to put todayt new discoveries in a real world
context, highlighting the social and philosophical ramifications of genetic breakthroughs and
questioning commonly held assumptions about
IiFe, technology and communicarions.

"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-sysrem,
designed and fabricated by ISA technologists,
resonates

with the words of the title, which

adds one day to the crearion period ofthe
world, as told in the Judeo-Christian scriptures.

Every living thing in this new ecosysrem
has been created using scientists' new ability
to manipulate the building blocks of life.
"\X/hile fluorescenr creatures are being
developed in isolation in laboratories, seen
collectively, they form the nucleus ofa new
and emerging synrheric, bioluminescent
system," Kac says. "The piece brings togerher
living, transgenic life forms in an environmenr
enclosed under a clear Plexiglas dome, thus
showing what it would be like if these crearures
were to coexist in the world ar large."
The exhibition also will feature a biobot,
which is a robot partially controlled by a
colony of GFP amoeba. The robott "eye"
can be manipulated by \feb viewers of the
exhibition, enabling a worldwide audience
to view and to participate in The Eighrh Day.
.t Jennifer Pringle, Communications Group

Fall 2001 Season Playbilt 5

-/all progranrs 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 at the heart of two rnajor programs
sponsored this fall by the college.
The ASU to You community classroom
series for adults and the Fall 2001 Arts in the
Desert Workshaps for children connect community members with faculty, staffand studet.rts
from all four fine arts disciplines.
"Providing opportunities that connect
the communiry to all four of these art forms
is a real priority for the college this year," says
Melanie Ohm, coordinator of community programs. "PartnerirLg with other organizations is

an important element of our programs as we11."
Faculty from art, dance, music and
theatre, a researcher from the collegeb Institute
for the Studies of the Arts (ISA) and a senior
curator from the ASU Art Museum will lead
discussions in the,4SU to You comnuniry class-

room series. The 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.
ASU to )'oz.r is co-sponsored by Ciry of
'len.rpe 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 lelating to
artists and their roles in society complements
the discussion series.
The college is partnering with the
\filliams Communiry School of the ASU East
tVilliams Campus in Mesa for the Fall 200
Arrs in the DesertWorkshops for children.
In these nine-week workshops, graduate
students and staff of the college guide
childrer.r ages 1-11 as they engage in lively
arr. dance, music and rhcatre experiences.
Frrn and educarional acrivities encourage
creativity and imagination. Parents of children
ages 1 7 share in their childrent arts experience
1

in InterAct for Families Workshops. Children
6 I I enjoy flexing their independence

ages

6 The Kather ne K. Herberqer col ege o{

F

ne Arts

J

and imagirrations in Creative Drama and
Creative Movement wolkshops.
C)hm says a recently formed council,
which includes faculry stafTand students from
art, dance, music and theatre, was instrumental
in shaping the multi-disciplinary approach.
For more information, contact Melanie

Ohm,480-767-6639.

.r' Tiacey Benson, Communications Group

ASU to You
W.hat A free community ciassroom
series expioring 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.,
mode rator Mark Sunkert, percussionist
and professor of music; Tues., Oct. 16,
6:30-8 p.m., moderator Sheilah Britton,
artist and researcher, ISA; TLes., 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 Tsukayama and Mary Fitzgerald,
choreographers and assistant professors of
dance (with a performance by Dance
Arrzona Repertory Theatre); Tires., March 5,
6:30-8 p.m., moderator Guillermo Reyes,
playwright and assistant professor of theatre.
Free coffee service provided by Jitters
Gourmet Coflee. Guests are invited
to linger after each event for casual
conversation and a second cupl

For information on book discussion groups
relating to this series, call 480-350-5508.

School of Music

'AII-Mozart"Concert:
Great Late Worhs
Chamber Orchestra
Vith Choral Union
Timothy Russell, Conductor
George Umberson, Director of Choral Union
Nicholas Ross, Guest conductor

Thursday, October 18, 2001
7:30 p.m.
Gammage Auditorium

AferberserColleee
oof
Fine ArtsD

Program
Wolfgang Amadeus Mozart

Concerto in A major for Clariner and Orchestra, K.622

(1755-r79r)
Allegro
Adagio
Rondo: Allegro

Robert Spring, clarinet

Timothy Russell, conductor

Overture

to

The Magic Flute, K.

\folfgang Amadeus Mozart

620....
Nicholas Ross, conductor

INTERMISSION
Requiem, K.

626......

. . . Wolfgang Amadeus Mozart

Introit and Kyrie
Sequence

Dies irae
Tuba mirum
Rex tremendae
Recordare

Confutatis
Lacrimosa

Offertory
Domine Jesu
Hostias
Sanctus and Benedictus

Agnus Dei and Communion

Karen Hendricls Crav{ord, soprano

Kristin Dauphinais, mezzo-soPrano
Darrell Rowader' tenor
Ron Sautter, bass
George Umberson, conductor

ii

The ratherlne K. Herberger Col ege of

F

ne Arts

Biographies
In the Fall of 1993, Timothy Russell became Professor of Music and the Dire ctor of Orchestras
at Arizona State Universiq'. He has established himself as one of America,s most versatile
conductors, foremost music educators, and outstanding record producers. His recording, The
Manhattan 7/ansfer Meets Tubby the Tuba, received a Grammy nomination as the "Best Musical

Album for Children." In January of 2000, Inner

Voices, with Native American cedar flutist R.
carlos Nakai, received a Grammy nomination as "Best New Age Album." other popular
recordings by Russell include his own children's story, The Gzfi of the Eagle, Porienc's The Story of
Baba, and The Nutcracher by Tchaikovsky. In addition to these favorites, Russell has conducted
the world premiere recordings of Peter Schickele's Thurber's Dogs,writtenin honor of the 100th
anniversary of the birth of humorist James Thurber, Stephen Paulus' riveting inter-related arts

masterpiece,

fom tbe Gallery and Circle of Faith. Russellk other recordings include
Remembering Marian Anderson, Hope's Journey, A Braxy lYight at the Operawith the ASU Chamber
Orchestra, Perception and Lilacs: The Music of George Walker with the ASU Symphony Orchestra.
These recordings have been enthusiastically received by listeners and critics alike, as has his vital
Voices

and imaginative orchestral leadership.
Equally at home conducting the great symphonic literature, music for chamber orchestra,
large choral works, pops concerts and childrent programs, Russell has been a frequent guest
conductor with the Phoenix Symphony. Other recent guest conducting appearances have included
the American classical orchestra, the charlotte Symphony, Hawaii Symphony, spokane

Symphony, Baltimore chamber orchestra, south Dakota symphony, pittsburgh New Music
Ensemble, Lehigh Valley Chamber Orchestra, Summit Brass, Interlochen Arts Academy
orchestra, vorld Youth Symphony and symphony orchestras in Arkansas, In{iana, Iowa,

Missouri, Montana and Gxas. He has conducted All-State orchesrras in Illinois, Iowa, Kansas,
Minnesota, New Mexico and Ohio.
The 2001-2002 season will be most exciting, his rwenry-third as Music Director of the
ProMusica Chamber Orchestra of Columbus, Ohio. Russell's achievements with proMusica have
been remarkable and diverse. The orchestra continues to make significant strides in musical
excellence, having earned an outstanding reputation for artistic performances and exciting,
adventuresome programming. On eight occasions the American Sociery of Composers, Authors
and Publishers (ASCAP) has honored Russell and ProMusica for outstanding service to
contemporary music.
For nine seasons, Russell served as Music Director and conductor of The Naples
Philharmonic in Florida. Under his leadership, the orchestra experienced dramatic growth in the
size of their audience and became recognized as one of the finest performing ensembles in
the
southeastern United States, with a full-time resident core ensemble of forry musicians. In addition
to the numerous symphonic, pops and educational performances, Russell conducted a
collaborative ballet series with the Miami Ciry Ballet and its Artistic Director, Edward Villella. In
November of 1990, Russeil conducted the premiere performances of a new production of
The lrlutnacker, as choreographed by George Balanchine.

Timothy Russell and ProMusica have been active in the commissioning of new works.
commitment to contemporary music, having conducted the worlcl premier performances
of over seventy new compositions, is coupled with energetic and exacting renditions of a
Russell's

Chamber 0rchestra

iii

repertoire that covers over 300 yc, - of musical composition.
A Danforth Foundation Fellow, Dr. Russell is an active music educator. He regularly leads
pre-concert talks and symposia and is involved in research and publication. He continues to
be a featured speaker at music conferences and workshops, as well as guest conductor of All-State
orchestras. Dr. Russell has held academic appointments at The Ohio State University and the
Universiry of Rochestet including in its Eastman School of Music as an Associate Professor of
Conducting and Ensembles.
Timothy and his wife, Jill, reside in Phoenix, Arizona with their children, Kathryn and
Geoffrey. They enjoy sports, travel and cooking.

George Umberson has had an illustrious career as a conductor, music educator and administrator.
His university teaching career includes positions as Director of Choral Activities at Pepperdine
Universiry and E,astern New Mexico University. He currently serves as Professor of Choral Music
at Arizona State University. H. has held administrative positions at \trest Texas State Universiry
andASU, having served nineteen years as Director of the School of Music at the latter. \7hile at
Eastern New Mexico Universiry Dr. Umbersons choirs were chosen to perform for national
conventions of the American Choral Directors Association and the Music Educators National
Conference. He has had groups selected for USO entertainment tours to Asia and Europe. Dr.
Umberson has served as guest conductor, clinician and choral adjudicator in more than forty

Currently he
Union. In 1995
Choral
State
University
of
the
Arizona
selves as Conductor and Artistic Director
and 1997 , Dr. Umberson took members of the Choral Union on concert tours to Europe,
performing with European orchestras in the Czech Republic, Germany, England and France. In
June 2000, he took more rhan 150 members of the Choral Uniorr on a concert tour to Australia
performing with the Melbourne, Canberra and Sydney Symphonies. In addition to his
states, having conducted many All-State choirs and several symphony orchestras.

conducting responsibilities, Dr. Umberson teaches courses in choral music education and choral
conducting and is involved with the supervision of masters and doctoral students in choral music
at ASU.

Nicholas Ross is currendy pursuing a Doctor of Musical Arts degree at Arizona State Universiry
studying conducting with Dr. Timothy Russell, Director of Orchestras. Mr. Ross has recently
been appointed to the position of Conducting Assistant with The Phoenix Symphony. Ross
received a Bachelor of Music degree in Violin Performance from Ithaca College. He earned a
Master of Music degree in Violin Performance and a New York State Teaching Certificate as a
String Fellow at Syracuse University.
Prior to relocating to Arizona, Mr. Ross held the positions of Music Director of the
Onondaga Civic Symphony Orchestra and Assistant Conductor of the Syracuse Symphony Youth
Orchestra in New York. In addition, he was an Affiliate Artist at Syracuse Universiry in the
School of Music, where he was a private violin instructor and taught string pedagogy for five years.
As a guest conductor, Mr. Ross has appeared with the Syracuse University Symphony Orchestra,
the Finger Lakes Symphony Orchestra and at area all-state and all-county festivals throughout
cenrral New York. He also has extensive public school teaching experience, having taught in three
school districts in the Syracuse area.
Mr. Ross remains active as a violinist and performs locally with Arizona Opera. He is a
member of the Glimmerglass Opera Company in Cooperstown, New York, and performed part-

iv

The Kather ne K. Herberger Col ege of

F

ne Arts

time with the Syracuse Symphony Orchestra for thirteen
,."rOr. has also been a member of thc
Binghamton Philharmonic and served as Principal Seconcl Violinist with the Utica Symphony
Orchetrra lor' five years.

Robert Spring has been described as "one of this country's most sensitive and talented
clarinetists" by TheArizona Republic, "dazzledhis audience...flawless technique" by
The Clarinet
Magazine, and "a formidable soloist...played with great emorional life" by the Copenhagen,

Denmark, Politiben. Spling's recording of Grawemeier Award-winning-composer
'Iower's
Joan
works for clarinet was described by The C/arinet Magazine as "tntly outstanding...one
would be
hard pressed to find better performances of conremporary music...first rate music perfbrmed
with
the highest professional standards." Thr' Insnumentalistmagazine says of his recorcling,
Dragon,s
Tongue' a CD of virtuoso music for clarinet and wind band, "His musicaliry
t..hniq.r. t"k.
"nd
this recording a must for every CD collection." Fanfare Magazine says of a new
CD, Tarante/Je, a
clarinet performance of music that the famous violinistJascha Heifetz recorded on violil, "This
recording was meant to amaze and, man, it succeeds.,'

Spring attended the University of Michigan where he was awarded three degrees, including
the Doctor of MusicalArts degree. His teachers inclucledJohn Mohler, David Shifrin
and paul

Shaller. Spring has performed

in the United

as a

recitalist or soloist with symphony orchestras and wind bands
in the United

States, Canada, Europe, Asia and South America, and has been heard

StatesonNationalPuhlicRadio'sPerformanceToc/ay. Hefrequentlyservesasclinicianand
adjudicator and teaches on the faculties of several summer music festivals. He has
published
numerous articles on multiple alticulation and other contemporary clarinet techniques.
Spring, President of the International Clarinet Association from 1998 to 2000, has
performed
for the 1988, l99t 1995, 1996, 1997,1998, 1999 and 2000 International ClarinetAssociation

'

conventions. He hosted the 1995 International Clarinet Association ClarinetFest at Arizona
State
University, where he is presently Professor of Clarinet. Dr. Spring is also Principal Clarinet
of the
ProMusica Chamber Orchestra of Columbus, Ohio. He is a Buffet Artist and
plays the BufTet
Greer rline Clarinet exclusively.
Karen Hendricks Cra*{ord (soprano) has perfolmed with the Summer Opera Theatre
in
washington, D.c., and the New York city opera, as well as with the Bronx opera, the
Amato
Opera, the Delaware Valley Opera Company, the
Quisisana Summer Theater and at the Opera in
the Ozarks Festival. She received her Bachelort Degree from Oberlin Conservatory, her
Mastert
degree from Temple University and has studied ar rhe Cenrro Studi Italiani
in Urbania, Italy, and
at the Academy of Singing at the Banff Festival in Banff, Canada.

Kristin Dauphinais

(mezzo-soprano) has performed numerous roles in opera and
musical rheatre.

She recently received an AriZoni nomination for her role as Mrs. Mclea'in
Susanna/t. She serves
on the Yoice faculty at Scottsdale Community College and co-directs rhe opera workshop
at
Glendale Community College. She also maintains her own plivate studio, direcrs both
an adult
and childrent choir, and is pursuing her doctoral degree in Vocal Performance ar Arizona
State
University.

Darrell Rowader (tenor) began his operatic career as an apprenrice arrisr wirh the Santa Fe
opera.
He has since performed with Hawaii opera Theater, chamber opera chicago,
chicago opera
Chamber 0rchestra

v

with the
Theatre and at Spoleto Festival L-..,^. He has also made guest soloist appearances
Bay. He recendy
professional orchestras of St. Louis, San Jose, Phoenix, Rochester and Green
of
Heauen'
Echoes
entitled
Ballads
Irish
rel.".ed a solo recording of Scottish and
Union in
Ron Saurter (baritone) has made solo appearances internationally with the ASU Choral
I'lle Saint Louis
Australia, the Academy of oxford orchestra in England, the Academie de
and Germany' In the
Republic
Czech
in
the
Orchestra
Orchestra in France and the Karlory Vary
M1t Fair Lady, The
in
roles
leading
U.S., he has worked exrensively in theater and opera, holding
Opera, where he
Fantasticks, Oklahoma and Chicago. He sang nine seasons with the Arizona
in ,!i:da, La Bohime and Manon Lescaut. He received his degree in Choral Music from
appeared

Cenrral Michigan Universiry.

CHAMBE,R ORCHESTRA PE,RSONNEL
Violin I

Flute

Bass Thombone

Andrew Irvin**

Lisa Dektor*

Robert Cockrell

Jonathan R. Moser

Katayoon Hodiati

Organ

Shumin Lin

Katie Ann McCarty

Heide Hille

Oboe

Debbie Dennis

Lara Saville*

Mary Moser

Dominique Bellon

Timoani
Margaret Billin

Violin II

Clarinet

Tara Planeta*

Allison Storochuk*

orchcsrralssstars

Jessica Solano

Tlmara Cuypers

Kayoko Dan

Maria Roggenhofer

Rebecca

Tout

Nicholas Ross

Matthew Fritz
Bassoon

Orchestra Librarian

Viola

Elizabeth Shoemaker*

Shannor-r Sigler

Gor Hovhannisyan*

Gina L. Stevens
Orchestra Managers

Mariona Oliu-Nieto
Jelfrey Norman
Katherine Auernheimer

Horn

Andrew Kissling

Nathan Mitchell*

Christopher Niileksela

Shannon Sigler

Cello
Nathanael D. Jasinski*

Trumoet

concertmaster

Kerry Campbell

James Schmidt*

Principal

Merrick Jones

Brian A. Shook

Mark Dupere
Trombone
Ryan

Ben Dickinson

Kurt Hinterbichler

vi

-i7i11iams*

Bass

-Waldir Bertipaglia*

The Katherine

K

Herberger coLleqe of Flne Arts

o
CHORALUNION PERSONNEL
Soorano

I

II

Sonrmo

AIto I

AIto

II

Cinni Alvey

Gloria Ahlberg

Mary Jo Becker

Francine Bliss

Michele Beard

Karen Annis

Lee Berry

Jan Boss

Cheryl Boeder

Suzanne

Frances Blumenfeld

Marilyn Brafford

Robbie Brada

Betsey Brada

Alice Buseck

Maureen Chaisson-Stewart

-A-nie Campell

Jeannie Chang

Arlys Eaton

Teresa D'Agostino

Michele Coombs

Laura Coombs

Karen Farry

Barbara Daniel

Christine Curry

Julia Cummings

Susan Fuhrer

Alexis Davis

Aimee Davis

Jeannine Goebel

Preethy George

Giuli Doyle

Lila Deidiker

Barbara Gould

Leeta Gilbert

Lisa Ehlers

Christina Eng

Anina Gullickson

Alex Gray

Vanessa Goldberg

Keisha Freswick

Della Mae Jennison

Linda Harper

Gini Gregg

Randi Halvorsen

Ella Johnson

Carol Harnvig

Lois Crethlein

Linda Hansen

Danielle Knox

Carolyn Holden

Vera Jeanne

Kristin Hoff

Jean Laaninen

Allison Holden

Dorothy Johnsen

Julie Hofler

Betsy Lawlor

Mary Hopeman

Rachel Lessard

Michal Jaksich

Kristen Marr

Mary Ladman

Jane

Patricia Kenady

Linda McCormick

Joan LaFalce

Deanna Manley

Jane Kleindienst

Michele Meyer

Marjorie Leach

Janet Martin

Jung Eun Lee
Sr. Joan

Madden

Arnold

Little

Darolyne Nelson

Jihlun Lee

Patricia Messamer

Linda Overholt

Judy Lines

Ellen Patera

Kelly McCann

Lynn Ritz

Susan Oliver

Mickey Shoemaker

Alissa McCarthy

Kira Rugen

Becky O'Reilly

Leonora StephanofT

Pamela McKinsey

Hazel Schiau

Susan Osborn

Christine Storey

Lori Mejdrich

Marilyn Senn

Joanne Pierce

Anne Stumpl

Gaydon Peck

Robin Stinnett

Priscilla Poese

Chereen Tlnner

Melinda Pekrul

Doris Tyldesley

Ann Radonich

Jessica Tartaro

Amy Petersen

Eleanore 'Wardlaw

Glenda Rauscher

Judy W'altz

Anne Quiqley

Bonnie \Tilson

Aurelia Rector

Sue

Linda Shell

Amy \Tronkiewicz

Nancy Rosenthal

Jean J. Steele

Cleta Sagramoso

Veronica Storch

Lu Sanford

Shari rVesely
Patricia

-{/hitehurst

\Tidemark

Barbara Sanner
Barbara Storch
Nancy Tirrgeon

Joy'$il'illett

Chamber 0rcheslra

vii

CHORAL UNION PERSONNE,L
Tbnor

I

Tbnor

II

Bass

I

Bass

II

Patricia Anderson

Bryan Balzell

\ffilliarn Coghlan

Sandra Evans

Bill Beattie

Fred Emerson

Ray Andrews

Kent Cattani
rX/ill Cox

Jeff Hargreaves

Timothy Cummings

Jacob'\il. Herbert

Dennis Davidson

Melanie Henrichs

Robert Cross

Bradley Jardine

David Doeller

Lynn Jech

-Wolfgang DA Ganey

Richard

Michael Kaiser

Diana Dwyer

Mark I-awlor

Michael Cray

Jane McDonald
Donald Olson

fuchard Haines

Roy Lemon

Edwin Hoag

Tom Jelinek

Ronald Maksym

Allen Hollorvay

Darrell Rowader

Al Kleindienst

Richard Me.jdrich

Tim

Robert Moodie

Paul Moerman

J.R. Hooker
Frank Hopkins

Barbara Schummer

Rick Oliver

Curtis Peacock

Norman Jenson

Perry Sells

Phil VanderMeer

Don Pender

Robert J. Johnsen

Charles Vickers

Bernard Van Emdet-t

Patrick Pender

Michael Jones

\(/arren Riggers

Robert Lessard

Robert Rosenthal

Robert Lightfoot

Bill Sanford

Lawrence Matthew

Christopher Sankuer

Matthew McGlothlin

Brent Gardner
Donald Hendrix

Sanner

Donald \Teaver

Larser-r

Bob Alpers

Gary Ehlers

Ron Sautter

Kim Mehalko

F.mil Senn

Tim Moe

Daniel

Shea

Charles Newton

David Shepherd

Joshua Plosker

Mark Sims

Gary Quamme

Leroy Smith

Phil Quidort

Jeff Strain

Richard

Gerald \il/idemark

Alex Richards

Reiss

Daniel Sagramoso
'ffayne D. Shelton

Bill Stinnett
Gene Voorhees

Conducting Assistant
Mark Lawlor

viii

rne Katherine K. Herberger co leqe of

Fine Arts

College alurnni driving puOc art
programs in Phoenix and beyond
A pedestlian bridge over
echoes the silhouette

a major urban freeway
of nearby mountains.

Bus sheltels artfully blend indigenous desert
materials with imagery of flight from natule
and the aeronautics industry.
tVorks of public art such as these

increasingly are being integrated into old spaces
and new construction in the Valley of the Sun.
And alumni from the School of Art, now
working as artists and public art administratols,
are leading this drive.
Nowhere in the Valley is this truer than
in Phoenix, which boasts the largest public art
program in the Valley in both budget and
number of projects completed and underway.
The management staff of the Phoenix Arts
Commission, the city agency that directs pr-rblic
art programs, is composed entirely of School
ofArt graduates or professionals pursuing art
degrees there, according to Greg Esser, public
art program managef.
"You might say that we wouldn't be here
if it weren't for the School of Art," quips Esser,
who will earn his master of fine arts (MFA)
degree in intermedia from the School of Alt

in

national artention. (In June,
Lundquist was named Mesas first arrist in
residence, as part of that ciry's emerging public
has garnered

art program.)

More recent School of Art grads are joining the ranks of public artists as well. Tamara
Frey, who earned her BA in sculpture in Spring
2001, and Eric Franklin (BFA, sculptule, '00)
recently took parr in a menroling program
sponsored by the Phoenix Arts Commission
that paired emerging artists with established
public artists.
ae, Tlacel Benson, Communications Group

December.

Other School of Art graduates on the
staff are project managers Ann Alger, Marie
Navarre and Christina Kelley-Burawa; arts
collection manager Dora Hernandez; and
public art program assistant Vanessa Mallory.
Project manager Jana Veldon currendy is
pursuing a degree in art history.
Many of the artists commissioned
to work on Phoenix's public art projects are
alumni as well.
Prolific public artist Kevin Berry (MFA,
sculpture, '87) recently completed a series
of five bus shelters at Phoenix Sky Harbor
International Airport, which were created
through the cityt public art program as part
of the airport's expansion.
Tarah fuder Berry (BA, art histor1,, '86),
who is married to Kevin Berry, recently
completed a commission by Phoenix for a set
oforiginal photographs, which are now a part
of the city's permanent art collection.
Laurie Lundquist (MFA, sculpture, '90)
created the strikingly sculptural pedestrian
bridge that spans the Squaw Peak Parkway and

Bus shelter designed by School

ofArt alurn Kevin

Berry

Alumni luncheon to spotlight
status, future of the arts
in Arizona and the nation
ASU alumni Shelley Cohn (MA, humanities, '75), executive director of the Arizona
Commission on the Arts, will discuss the
status and future of the fine arts in Arizona
and the nation on Nov. 3 at Come Home
to t/te Arts: The 3rd Annual Reunion and
Luncheon. The event will bring rogerher
graduates from the art, dance, music and
theatre programs of the Herberger College.
The event will be held from 1 1:30 to 2 p.m.
at the Deselt Botanical Garden, 1201 N.
Galvin Parkway, in Phoenix. For reservations and information, call 480-767-7785.

Fall 2001 Season Playbill

/

The lights go down, the curtain goes up, and
the enchanting experience of a live performance
begins.

But behind the scenes, the show you ar€
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 the academic year prior to the show's
opening. For example, the Theatre and Lyric
Opera Theatre production groups already 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 the meerings begin.
"First concept" meetings are held among
production's
the
director and its designers.
These include scenery, costume, lighting and
sound designers. The group discusses the
directort 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, constructed and fitted;
lighting will be hung, "cabled" (connected),
focused and "level-set" (meaning, the cues will
I

The Kather ne K. Herberger

co

ege of

F

ne Arts

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 scenery,
budget and time needs. Ifanyonet ideas
arent in the director's vision, nowk the time
to speak up.
Before launching into rehearsals, some
directors will get their castk creative juices flowing with improvisation sessions, field trips to
relevant 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, actols, 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? Nowt 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.

rl

Megan Krause, Communications Group

AII
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GeneraPI nformation
GENERAL BOX OFFICE

EMERGENCY MESSAGES

Serving Dance, Lyric Opera Theatre, Theatre,
0rgan Series and the lnstitute for Studies in

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

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

to make an emergency phone call should
FACILITY BOX OFFICES

Dance Theatre
132 Physical Education Building East
0pens 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
Opens one hour before performances
Evelyn Smith Music Theatre: 480-965-3398
0pens one hour before performances
Gammage Auditorium: 480-965-3434
0pens one hour before performances
FACILITY POLICIES
Due to the disturbance to other patrons and to

performers 0n stage and in observance
of copyright laws, the use of cameras and
recording devices is strictly prohibited;
cameras are io be given to house manager
to lock up. Patrons also are asked to please
turn off watch alarms, pagers and cell phones.
Food, beverages and smoking are
not permitted in facilities.
GROUP SALES
Put together a group of 20 or more family,
friends, neighbors or co-workers and
save with group discounts. They're

available for many performances. Simply
call the Herberger College Box Office,

480-965-6447.
CHANGE OF AODRESS

Season subscribers are encouraged to notify
us about a change of address" We want to
keep our records accurate and keep you
informed o{ new developments. lf you move,
please call or write with the new information.
l0 the ratherlne

K. Herberger Co lege of Fine Arts

contact an usher or the House Manager for
assistance. (Be sure to leave seat locations

with your sitterl)
EMERGENCY PHONE NUMBERS

ASU Public Salety: 480-965-3456

Galvin Playhouse: 480-965-6447
Gammage Box Ollice: 480-965-3434
Lyceum Theatre Box 0lfice: 480-965-3437
Evelyn Smilh Music
Thealre Box Office: 480-965-3398
LATE SEATING POLICY

Late-arriving patrons will be seated at the

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

Seating areas open 30 minutes before
curtain time.

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

6E

Parki ng
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 instructrons
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 Myrtle Ave.
DANCE THEATRE/ 132 PE BUILDING EAST
Evenings and Weekends:

N0TE: There is a charge for anyone parking on campus before 7 p.m. on weekdays.
Melered parking is in eflect on Saturdays.
Metered parking is lree on Sundays.

JI

LoI 42 al0range Ave. and McAllister Ave.
Parking Structure 4 at Orange Ave.
and McAllister Ave.
EVELYN SMITH MUSIC THEATRE
(MUStC BUtLDtNG)
Evenings and Weekends:
Lot 3 on Gammage Pkwy. (Arrive early!)
__.r Parking Structure 3 on Myrile Ave.

I

Evenings and Weekends:
Parking Structure 3 on Myrile Ave.

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campus parling s FREE afrer 7 p.m
weekdays and 5aturday, and ALL day on
5unday. Exceptions incl!de restrjcted,
metered, vkitodpay and retidentia ha I
lots, as noted at the entrance to each lot
and special event days.

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Who u.ill inspire ancl enlightcn us a clecade
trom nor,r'?
Just look around.

You'll I'ind thc ansu'cr here.
More than 2,500 students annuailv stud,vArt,
Dance, Music andTheatre at the Herbcrger
College, an emerging national leacler in
line arts cducation.With programs that
earn top national rankings, thc collegc strives
to be a vibrant, innor.ative and accompiished
enrrironment, one locused on collaboration
and community.
Prir.ate contributions makc possiblc the high
lcr-el of academic and creative Programs
that statc lunding and tuition alone cannot.
Your gift to Herbcrger Collcge is an
inr,estmcnt in thc future of the line arts.
For inlormation on hor.v vou can invcst in
tomolro$r todal', please contact Dcanna
Stulgaitis, associate director of devclopment
and alumni relations, at 480-965-8985.

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