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JOE MARTYN RICKE

Director

One of my favorite moments in Much Ado about Nothing occurs when Beatrice, commenting on a young romantic couple just getting together, says “Good Lord, for Alliance!” Having changed the setting of the play from 15th Century Italy to 1944 England, just days before D-Day, I slightly revised the line to “Good Lord, for Allies!”  Truly, the Allies against Hitler did remarkable things in those days, risking everything and losing much along the way in order to liberate Europe from the Nazis and Fascists. So many came together to make a difference, not knowing for sure at any step along the way that they would succeed. This play honors them for what they did and for who they were. And it honors people like my parents who got married in a side chapel of St. Joseph’s Cathedral in San Diego (mom wasn’t Catholic) just before dad shipped out for over two years of service on the U.S.S Alcyone  in both Europe and the Pacific. He came away with two Purple Hearts and some horrible memories, but he came back. And so I’m here. 


“Good Lord, for Allies” means something else to me in the context of this play. I am thankful for a technical director, a choreographer, a set designer, a costume designer, a stage manager, an assistant director, and all the student cast and crew members who have come together to make this production happen. We, too, if on a smaller scale, are taking part in a rescue operation. Shakespeare is dead and gone, according to the biologists anyway. But we (and of course, we aren’t the only ones involved in this kind of thing) have invested our resources, our time, our energy, and some aching muscles (especially for the dancers) in the worthwhile, if difficult, work of bringing him to our stage, to our audience, to our time. 


Like my parents and their generation, it is hope that motivates us. We could fail, of course. There are no guarantees -- in art, in the work of liberation, in love, in friendship, in marriage. In Alliances. We might have to do it again to do it better, to get it right. A little secret: my parents were married three times. To the same person. They tried to mess up, but it seems, as Dogberry says in his most eloquent mistake, that they were “condemned to everlasting redemption.” Does Much Ado about Nothing have a message? Yes. That. 


Benedicamus Domino (Let us Bless the Lord)

Deo Gratias (Thanks Be to God)

Creative Team: About Us

CONNER REAGAN

Lighting Designer

Conner Reagan is a proud alumnus of the Taylor Theatre program. He now continues the work as the Technical Director and frequents the in-house designer role. Some of Conner’s recent professional design credits include, A Raisin in the Sun, Macbeth, and “ART” (New City Players), The Diner (Chapel Rock Christian Church), and The Mousetrap, The Amish Project, and Falling (Taylor Theatre).


[Find his portfolio at connermreagan.weebly.com

Soli Deo Gloria. 

SARA BAILEY

Costume Designer

Sara Bailey is honored to be part of her 15th season at Mitchell Theatre.  She is an '09 Taylor alum with a BA in psychology and MA in Organizational Leadership (Concordia University, ‘18).  While attending Taylor she fell in love with the art of theatre and costumed several mainstage productions including Thoroughly Modern Millie, The Hobbit, The Taming of the Shrew, and The Odd Couple.  After graduation she continued her involvement in local theatres and at Taylor, acting or serving as a Production Manager or Costume Designer for multiple productions. Her recent production credits include: Les Miserables, Wit, Working, Oklahoma!, Gianni Schicchi, The Matchmaker, She Loves Me and Falling.

KORY BROWDER

Choreographer

Kory Browder, a native of the Chicagoland area, is a graduate of Ball State University with a BS in Dance Performance and is currently at Taylor University as Dance Faculty.  Professionally, Kory’s career includes performances with Carnival Cruise Lines, Cedar Point Entertainment, Ball State Dance Theatre and Ball State Singers. Her performance credits include roles in The Nutcracker, Sleeping Beauty, Cinderella, Nosferatu: A Vampire Ballet, Damn Yankees, Swan Lake and Raymonda.  She has choreographed many works with Taylor University Theatre since 2009, some of her favorites include I Love a Piano, Midsummer Night’s Dream, and Oklahoma.   She has also had the honor of choreographing musicals at IWU, which include Little Women and South Pacific.  In addition to her work in musical theatre and full length ballets, Kory has received recognition her ballet choreography and past work with Ball State University Singers.


Kory continues to work on her accomplishments as both an instructor of dance and choreographer.  She feels her trust in God’s will has brought her to where she is today and believes that by expanding her faith, education, and current works, she is able to present her students with a higher quality experience and education.  Kory currently resides in Marion, Indiana with her supportive husband, Bobby Browder, and proud mother of children Evan and Ella.

KEVIN GAWLEY

Scenic Designer

Kevin is returning to design his 37th production at Taylor. As a freelance lighting/scenic designer, Kevin’s work has appeared on many Chicago stages, including Lifeline Theatre where he won the Jeff Citation for his design of Jane Eyre, the After Dark Award for his design of Strong Poison, and has been an ensemble member and resident designer since 2001. His work also appeared in numerous productions at the Bailiwick, Organic, Porchlight, OperaModa, Blindfaith, Theatre on the Lake, Metropolis, StoreFront, Loyola University Chicago, Revels Chicago, Midwest Jewish, and at the North Carolina Shakespeare Festival theatres.  Kevin is currently Professor and Resident Scenic and Lighting Designer at the University of Louisville and has previously taught courses at Loyola University Chicago, the University of Illinois at Urbana-Champaign and the University of Wisconsin–Eau Claire.  He is also a resident designer at St. Scholastica Academy.  Kevin holds an MFA and BFA in Lighting Design from the University of Illinois at Urbana-Champaign and an MBA in Finance from DePaul University.  Kevin’s lighting/projection designs were featured summer 2009 in Lifeline Theatre’s productions of Crossing California and Gaudy Night.

CLIFTON DAVIS

Composer & Arranger

Combining degrees in engineering and church music, Clifton Davis brings a breath of experiences to composing music.  He enjoys learning more about the creative process through collaboration with many kinds of creative people. He has taught students ages 4 through 67 and is honored to share this experience with you tonight!

Composer's Note

I enjoyed exploring the rhythm and sounds of 1940s swing music as I wrote for this production.  You may know Indiana composer Hoagy Carmichael who wrote songs like "Heart and Soul." "The Nearness of You," and "Stardust" (which is sung live in this production).  His chord changes were the basis of most of the incidental music composed for this production.  (Incidental music played while the set is moved about to shift scenes.)


The moment by the tomb required music that allows the audience time to understand the positive transformation happening in the characters of the play.  This selection was actually composed for TU professor Dr. Chris Bade who premiered it earlier this fall with Sheila Todd.  Because of the melancholy gravitas, I like this piece the best of the original music used in this production.

Original Music Credits

"Sigh No More Ladies"

Composed by Joe Ricke

Ukelele/vocals by Andrew Baker and members of the cast 

© Joe Ricke. Used by Permission.

"In the Twilight,""And the Gloaming"

Composed by Clifton Davis

Clarinet: Chris Bade

Piano: Sheila Todd

From the Live Recording "Psalms, Hymns, and Other Songs"

Recording production: Chris Wright, Steven Christophersen, Josh Taylor

© 2019 Clifton Allen Davis Music, ASCAP. Used by Permission.



"I Am Not For Him," Fair Thee Well Most Foul," "It Shall Be Proved," Star Dance," and "The Lady Is Fair"

Composed by Clifton Davis

Clarinet: Steven Christophersen

Bass: Evan Fine

Piano: Clifton Davis

Recording production: Steven Christophersen and Evan Fine

© 2019 Clifton Allen Davis Music, ASCAP. Used by Permission.


"Don't Sit Under the Apple Tree"

Words and music by Lew Brown, Charlie Tobias, and Sam Stept

Vocals: Cast Ensemble

Instrumentals: Live Combo with Connor Dollarhite (alto sax)

©1942 Robbins Music Corporation. Used by Permission.


"Star Dust"
Words by Mitchell Parish, Music by Hoagy Carmichael

Vocals: Maddie Logan

Instrumentals: Live Combo with Brandt Maina (clarinet)

© 1929, Mills Music, Inc. Used by Permission.


"White Cliffs of Dover"

Words by Nat Burton, Music by Walter Kent

Vocals: Cast Ensemble

Instrumentals: Live Combo

©1941 Shapiro, Bernstein and Company. Used by Permission.

Creative Team: Meet the Team
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