The Nutcracker: a Conversation with Zack Brown By Andrea Varga Published in TD&T, Vol. 45 No. 4 (Fall 2009) Theatre Design & Technology, the journal for design and production professionals in the performing arts and entertainment industry, is published four times a year by United States Institute for Theatre Technology. For information about joining USITT or to purchase back issues of TD&T, please contact the USITT office: USITT 315 South Crouse Avenue, Suite 200 Syracuse, NY 13210 tel: 800-93-USITT (800-938-7488) tel: 315-463-6463 fax: 315-463-6525 e-mail:
[email protected] web: www.usitt.org
Copyright 2009 United States Institute for Theatre Technology, Inc.
the
Nutcracker A conversation with Zack Brown
By Andrea Varga
Milwaukee Ballet; Act I Snow Queen and Snowflakes. Photo by Richard Brodzeller.
Milwaukee Ballet; Snowflakes costume sketch.
Milwaukee Ballet; Act I Land of Snow scenic rendering.
12
theatre
design
&
technology
F
A
L
L
2009
Copyright 2009 United States Institute for Theatre Technology, Inc.
American Repertory Ballet; Land of Snow model. Model by Warren Karp.
Tchaikovsky’s
Did you always want to design for the ballet?
The Nutcracker ballet has become a holiday season staple of dance companies around the world. Scenic and costume designer Zack Brown has designed this perennial favorite for four ballet companies—the Milwaukee Ballet (1998), American Repertory Ballet in New Jersey (2000), Pittsburgh Ballet Theatre (2002), and the Alberta Ballet (2008). I met Zack at Barbara Matera’s costume shop when I was a young designer in New York City. The shop was working on Brown’s new Swan Lake for American Ballet Theatre. Not long after that project, he asked me to join his assistant team. During my time as his costume assistant, I had the opportunity to work on one of his Nutcracker productions, for the Pittsburgh Ballet Theatre. It was both an educational and an artistic experience to be involved in such a large production from beginning to opening night. In a series of interviews with Zack Brown, we discussed the challenges and delights of designing scenery and costumes for four Nutcracker ballets in one decade.
As an undergraduate at Notre Dame I would go to Chicago to the Auditorium Theatre to see the Joffrey Ballet. They were doing revivals of a lot of Diaghilev ballets, like Petrushka. I fell in love with dance and really wanted to do ballet, but I didn’t have the opportunity until I came to New York. So, I just saw as much as I could.
Do you remember the first Nutcracker you ever saw? Yes, it was Baryshnikov’s with ABT at the Met…in June. Odd! A classmate from Yale and I bought tickets to New York City Ballet for their Nutcracker and didn’t realize the curtain time was so early so we arrived just as Santa was leaving in his sleigh. Missed the whole thing! I’ve since only seen it on video.
Did you have any specific training in ballet or dance costume design when you were a graduate student at Yale? Ming [Cho Lee] required us to design for ballet, and he did wonderful critiques, but that was about as specific as it got. There was nothing on the costume end.
Background What was the first ballet you ever designed?
As a student and early in your career, whose work impacted you and influenced your aesthetic approach to design?
My first ballet was La Sonnambula for American Ballet Theatre in 1981. If I remember correctly, they asked Santo Loquasto, but he was busy. He told them it sounded like they needed a painter and suggested me. This was for scenery—Theoni Aldredge was doing the costumes. I had exactly one week to design, draft, and do paint elevations, because it was going to open in a matter of weeks in Chicago.
There were many designers like Jürgen Rose, Ezio Frigerio and Piero Tosi, but the designer that most inspired me was, is, Desmond Heeley. He does scenery and costumes, and he has done a lot of ballet. I would go to the Shakespeare Festival in Stratford, Ontario, for about six years after graduating from Yale and see the whole season . There were wonderful designers working there, like Desmond, doing astonishing work. I consider this as much my training as Yale.
Copyright 2009 United States Institute for Theatre Technology, Inc.
F
A
L
L
2009
theatre
design
&
technology
13
Milwaukee Ballet; Act II Carousel scenic rendering. Milwaukee Ballet; Mother Cigogne costume sketch.
Did you ever get a chance to design with Heeley? No, but I got to know him a bit because we were both working at the Guthrie at the same time. I was in awe.
Who influenced you scenically? It’s very hard not to be influenced by a strong designer like Ming Cho Lee when you are a student. I don’t mean in an imitative way, although when you are young that sort of happens. He is a brilliant designer and I learned a lot from him. He taught me how to read a play and to understand opera through the music.
14
theatre
design
&
technology
F
A
L
L
2009
Milwaukee Ballet; Mother Cigogne’s children costume sketches.
You have an interesting point about the music because that’s a huge part of what you have to go on when you’re designing for dance. I think one of the reasons I’ve done so much opera and ballet is because of my affinity for and love of music. I don’t read music. I just have a real feel for it, an understanding.
Copyright 2009 United States Institute for Theatre Technology, Inc.
That’s a really ephemeral thing. How do you put your finger on it?
Were the production concepts different for each one?
Ming always said music has a certain weight—the design has to look the way the music sounds. It’s tonality, the depth or transparency of the orchestration. These things dictate a palette or weight to the scenery. For instance, there is a huge musical difference between Tchaikovsky’s ballets, Swan Lake and The Nutcracker. The music for Swan Lake is very dramatic, huge, and visually it needs to be as grand as possible. The Nutcracker has grand moments—the growing tree, parts of the Land of Snow, and the final pas—but it is much more “refined” in general. Sleeping Beauty is another whole story. Completely different—more French.
All four were very different. Milwaukee was 1840s Russia. American Repertory Ballet, as I said, was Wiener Werkstätte. Terry Orr wanted his to be set in Pittsburgh at the turn of the century with several specific local references. The Land of Snow overlooks the junction of the three rivers, the second act evokes a famous amusement park outside the city, and the show curtain depicts an actual mansion from the period (since demolished). For Calgary, Edmund Stripe and I decided to do it in Russia at the turn of the century. When we first talked he was undecided—Germany or Russia? But after he disclosed how much he liked uniforms I pushed for Russia, which I am predisposed to anyway. He ran with it and came up with some very original ideas. He didn’t want big snow covered pine trees for the Land of Snow, he wanted frozen tundra and a Snow Tsarina accompanied by arctic wolves.
So you have to enjoy and understand the feeling of music to be a good dance designer? I think so. Take the growing Christmas tree in The Nutcracker. This is typically the main event in Act I. But it isn’t for me because musically it can’t be. You can’t make the tree come up to that music—it goes on too long and has three huge crescendos. Something has to happen for each one. That’s why I make the entire room grow. By the time we get to the crash at the end we are somewhere else.
Between 1998 and 2008 you designed scenery and costumes for four Nutcrackers. How did you meet the choreographers? For the first one, in Milwaukee, their production manager, Willy McClaren, came to New York to interview several designers whose names were given to him by United Scenic Artists, of which I was one. Once I was chosen I was put in touch with Lisa de Ribere, the choreographer. We had lunch and began working. After Milwaukee I got a call from American Repertory Ballet wondering if I would be interested in another Nutcracker, with Graham Lustig. I didn’t understand if this was really a question—I mean, why not? And when we met and he described his idea of setting it in Vienna at the beginning of the twentieth century— Wiener Werkstätte—I was jumping up and down because it is a period and style I am very familiar with and love. His ideas were original and witty and very appealing to me in an untraditional way. A year later, after seeing my Swan Lake for ABT, Terry Orr called from Pittsburgh Ballet Theatre to ask me to do his production. The Alberta Ballet production happened through a recommendation. I had just done a production of Balanchine’s Don Quixote with the National Ballet of Canada and Suzanne Farrell Ballet. The production manager from Alberta, Harry Paterson, asked Jim Thornley from the National to suggest designers for a planned new Nutcracker. I was asked to send examples of my work to Calgary and heard nothing for almost three months. I assumed they would hire a Canadian, but ended up with my fourth production.
Milwaukee Ballet; Act I, Marie and Friends. Photo by Richard Brodzeller. Milwaukee Ballet; Marie costume sketch.
[Editor’s note: Wiener Werkstätte was a group of designers and craftspeople in Vienna in the early 1900s. Their work was inspired by the English Arts and Crafts Movement and had an elegant “square style” that celebrated the beauty of geometry.]
Copyright 2009 United States Institute for Theatre Technology, Inc.
F
A
L
L
2009
theatre
design
&
technology
15
Alberta Ballet; Rats costume sketch.
Alberta Ballet; Act I model. Model by Nathan Heverin.
Alberta Ballet; Nutcracker Prince costume sketch.
What were some less traditional or unexpected design choices that you made for these Nutcrackers?
When working with ballet choreographers, certain considerations are different from doing a stage play or a musical. Do choreographers have a lot of input about the dance costumes or do they just assume that you and/or the technicians know what needs to be done for ballet costumes? I think at this point there is a level of trust that I know what is required for the dancer (movement, comfort) and for wardrobe considerations (durability, washability). I always ask the choreographers about any specific preferences or dislikes regarding color, cut or detail, though.
16
theatre
design
&
technology
F
A
L
L
2009
Most of the really unexpected choices were in the American Repertory Ballet production. Graham wanted the tree outside and it grew, but when the room grew gigantic it had a huge torte/cake that had mice crawling all over it. The Land of Snow had a group of children bouncing through the scene as snowballs. That put a smile on everyone’s face. For Milwaukee’s production, Lisa wanted a carousel in the second act with each divertissement having its own carousel animal. I devised a canopy that flew in, opened like an umbrella, lit up and rotated. Since it worked so well with the music and choreography, and because Terry in Pittsburgh wanted Act II to be an amusement park, I used the same idea. Lisa was also very insistent that elements from Act I be elaborated on or referred to in Act II so it didn’t become just a dance recital. An example: in Act I, Father brought in two huge platters with lobsters; in Act II he was the lead Spanish dancer with three girls in lobster costumes swishing their tails around and using their pincers as castanets. The audience went wild. Act II in Calgary, because of the Russian theme, was a Fabergé garden. I’ve never been fond of the usual Land of Sweets idea for Act II. It’s too simplistic. Act II should be a vision of spring after a long hard winter (the Waltz of the Flowers) and the idea of rebirth and coming-of-age. In Pittsburgh there was no Mother Ginger instead it was a Ringmaster on stilts and a kind of clown-car that spewed forth children in nineteenth-century circus costumes.
Copyright 2009 United States Institute for Theatre Technology, Inc.
Design Let’s talk more about designing both scenery and costumes.
How soon do lighting designers participate in production meetings?
I’m always asked which I prefer, scenery or costumes. And the answer is that they are two completely different things and that I rarely like doing one without the other. If you are creating another world you have to do both.
As soon as they can see sketches or a model, and a ground plan and section. You usually have an indication of where the theatre’s electrics are, but the lighting designer almost always needs to move drops or scenery slightly to light them more effectively. It’s best to have them involved as early as possible.
Have you considered doing lights as well? No, enough is enough. It’s too technical. At Yale they make you take all three disciplines, which is good for understanding things collaboratively, but it’s hard enough juggling scenery and costumes.
How many years does a company expect a new full production like The Nutcracker to run? A new Nutcracker is a huge investment for a company so it has to last at least ten years. I think Alberta said thirteen. Milwaukee has already done ten and I don’t hear noises about retiring it.
It must be interesting to do a project that lives on and on. I really wouldn’t want to spend a couple of years working on a show that could close in a week. At least if I spend a long time on a project I know it’s going to be around for a while. The Rigoletto I designed for the Metropolitan Opera is going to turn twenty shortly, without retirement plans. And that is exactly what they asked me for up front.
How do you go about designing for a project that has to have such a long life span? Longevity for a production does preclude doing anything too outré or quirky. American companies generally don’t have the luxury of retiring a production after a couple of seasons the way a European subsidized organization can. In Europe a company can (and has) done productions of Rigoletto that look like they take place in outer space and two years later do a completely new one that takes place in a department store in Helsinki.
Pittsburgh Ballet Theatre; Act I, Rat Cavalry costume sketch.
What is your creative process and where do you get your research? Do you go straight to period specific sources or do you find artwork that is inspiring? I do both of those things, and if music is involved I listen endlessly. I also like to research what has been done before to avoid repeating ideas—or to steal good ideas. It’s a very instinctive process,hard to explain, and, of course, you have a lot of discussions with the director or choreographer, or both. By the time I sit down to start pushing the pencil I know what the production is going to look like—not that it doesn’t change or that I don’t refine or embellish it.
Pittsburgh Ballet Theatre; Act I, Little Mice costume sketches.
How long does the entire scenic design process take? It usually takes two to three months to design, build a model, and draft. Then you begin the paint elevations, and that is something I have to do myself. Drafting and model-making are taken care of by assistants.
Copyright 2009 United States Institute for Theatre Technology, Inc.
F
A
L
L
2009
theatre
design
&
technology
17
Did you do scenic renderings for all four of the ballets? For Milwaukee I did renderings, but for the others just models. I’ve found that the renderings take a large amount of time and you need to work it all out in a model anyway.
How many hours might you spend painting scenic elevations? The paint elevations can be a lot of work, very time consuming. I spent two months alone in the studio doing the elevations for Swan Lake. Part of this was because the model was in quarter-inch scale, and the elevations had to be done in half-inch scale. But it was a very happy time—an important project and no serious deadline pressure. It gets very stressful to have looming deadlines because you can’t paint faster. You just can’t.
Do you get asked for revisions on productions that have a long life span? All four productions of The Nutcracker have wanted revisions or additions. Thankfully not because anything was really wrong, but more for ease of touring or a change in artistic directorship. (The lobsters were eventually “boiled.”) A Snow King was added in Milwaukee to add a pas de deux. Alberta put the legs for the Land of Snow on hold for budgetary precautions, but we decided they were needed after all, so this season they will be added. Pittsburgh has turned some hard scenery into soft-goods to ease put-in time and because they now tour the production, which was not part of the original plan. Also, because of touring they cannot take the carousel canopy, so they have added butterfly and bird costumes for students from the school. I don’t quite understand how these replace the canopy but…they are being made right now.
The costume sketches are only the beginning of the costume process. What else goes into mounting a production of this size? On each of these Nutcrackers I’ve had to be a producer as well as designer because these companies are not in New York and either had no shop (ARB) or had small shops unable to tackle a production of this scale or complexity. They also didn’t have access to goods and materials. Vendors and makers needed to be engaged, and everything needs to be shopped and shipped. The swatching and shopping process is a lengthy one. For Calgary it went on from March until October.
So you have to make decisions about each little rhinestone, ribbon and button. Is this a full-time job? Every little detail depends upon your eye doesn’t it? My days during this phase are about making decisions on every aspect of each costume based on the swatches and trim samples brought back to the studio by the shopper. It also involves upkeep of the bibles so you know what you’ve bought and what still needs to be found. I don’t usually have to do this myself, but it does happen when you are trying to keep up with purchasing for eight or more people making things across the U.S. and Canada!
18
theatre
design
&
technology
F
A
L
L
2009
How do you stay organized with all this? You’re supervising scenery being made, drops being painted, props, etc., and you are dealing with all of the costumes too. At this point the scenery part becomes a bit easier—it’s being built and painted—they have drafting, a model and paint elevations. Costumes don’t have drafting or a model—just a “paint elevation.” It is all hands-on and a myriad of decisions each day. The decisions on scenery have already been made—it’s a matter of execution. It’s either what you intended or it isn’t. Costumes are more complicated and mutable. A wrong fabric choice can become months of trial and error. (It has happened.) Scenery has also become easier since the shop can photograph drops or scenery and e-mail you a photo for questions or approval, thus saving time and effort going to the shops, which are usually in out-of-the-way places. With costumes there is no substitute for fittings. A draper can e-mail you a photo to get approval for a shape or trim placement, etc., but the costume still needs to be put on the dancer’s body.
When you are making choices for a production that’s got to last for many seasons, does that longevity influence the kinds of fabrics you pick and how things are going to be made? You are crazy if you don’t let it influence you because the costumes are going to look like hell in no time if you don’t. You learn to fall in love with polyester—especially for parts of the real dance costumes and things that need washing after each performance. Luckily they are making many, many more acceptable and varied choices in polyester and synthetic fabrics.
Copyright 2009 United States Institute for Theatre Technology, Inc.
Alberta Ballet company in Land of Snow scene; choreographed by Edmund Stripe. Photo by Gerard Yunker. Alberta Ballet; Arctic Wolves costume sketch.
Artisans Going back to people who have been influential in your career, how was your experience working with Barbara Matera’s costume shop? Did they make some of your first Nutcracker? Yes, they made the lobsters for the Spanish dance, the Flowers, the Snowflakes, the Snow Queen, Dew Drop, Sugar Plum, and Arabian.
Barbara’s shop was known for doing tutus. Were you able to learn from her techniques?
they might as well have been saw blades because those sequins just grabbed everyone else’s tulle. So, I spent many hours snipping them all off. They were still gorgeous, just not as deadly. Believe me there was still plenty of sparkle left.
Tutus are very strange garments, and you need to be taught about them. They require a very specific mind-set and Barbara understood them and trained her drapers about the ins and outs of construction. I learned by watching and doing fittings with Barbara. My very first tutu was for Natalia Makarova for On Your Toes. Natasha had Barbara in her contract for making her tutus. Over the course of the five incarnations of this show I don’t think we did one fitting that Natasha didn’t bend over with her rear to the mirror and say, “Oh Barbara, you make me look like chicken!” To this day I’m still trying to figure out exactly what that meant, but I think it had something to do with the transition from trunks to ruffles which needs to be a clean line and not “fluffy,” I think. At any rate, I did learn what the dancers wanted and expected, and how tricky the ornamentation can be. Barbara loved trim and beading, and for the tutus for the Snowflakes in Milwaukee, which were the long romantic type, she had these opalescent little Christmas tree shaped sequins sewn all over the skirts. The girls got on stage and started spinning and
Copyright 2009 United States Institute for Theatre Technology, Inc.
Would you say that Matera’s aesthetic, and the way she interpreted a sketch was a good match for your design work? Barbara definitely had her opinions about designers, and had favorites, like Desmond Heeley. They were close. And I hope she did like my work. She seemed very engaged and happy during the construction of Swan Lake, and we had a good time in the shop. It was actually one of the most wonderful experiences of my career because, as I said to my assistant at the time, Jessie Amoroso, “Enjoy this. A project this huge rarely gets built in one shop, let alone one of this quality.”
As a young designer, it was pretty remarkable to see your sketches come to life in Barbara’s hands. Being part of her shop working on your designs was very influential. It felt like a match made in heaven between a technician and a designer. She loved ballet more than anything.
F
A
L
L
2009
theatre
design
&
technology
19
How do you find people to make your costumes and headdresses when they aren’t being done by just one shop like Matera’s? On your way through shops you find people who have decided to open their own shops or work on their own. Two of Barbara’s people did just that. Katherine Marshall opened Tricorne Costumes in New York City, and Eleanor Wolfe now teaches and does free-lance work. They both did portions of the most recent Nutcracker as well as portions of the first three while at Matera’s. Marianne Krostyne built a major portion of each of my Nutcrackers and she free-lances out of her home in Pittsburgh. She is the rare artisan who does tailoring and dressmaking equally well. I first met her working at Arena Stage and was so impressed I asked her to come to Washington Opera as principal draper. We have worked together for a long time. Marie Schneggenburger worked at Washington Opera, Arena Stage, and the Shakespeare Theatre in DC on a free-lance basis, and she too has built large portions of the millinery and head-gear for these productions. Jeff Lieder was used by Milwaukee Ballet for a lot of that production’s hats and tiaras, and I’ve used him subsequently on all of the others.
American Repertory Ballet; Spanish Man costume sketch.
Milwaukee Ballet; Spanish Dance Lobsters costume sketch.
American Repertory Ballet; Spanish Lady costume sketch.
How did you coordinate building the animal heads, the tiaras, the ethnic headdresses, etc., using different artisans? Nutcracker is an enormously complicated project in that it has period costumes, animal costumes, tutus, ethnic clothes, and uniforms all wanting to look like they belong on the same stage with the same stylistic quality and level of craftsmanship. Keeping control of it all can be difficult when there are so many different artisans. That’s one reason I have used the same people on these productions. Martin Izquierdo has been the principal source for the animal costumes and specialty props like hobby-horses or giant cutlery for the battle scene. This is a very specialized studio dealing with the various “problems” one encounters when putting children or dancers in animal costume, like visibility, comfort, and mobility. I was particularly happy with his wolves and rats and mice for Alberta Ballet.
When someone hires you to do a ballet, they’re essentially hiring a team of people you’ve worked with too. The nice thing about having these continuing relationships is that the artisans understand the quality you expect and they know that you trust them.
20
theatre
design
&
technology
F
A
L
L
2009
Copyright 2009 United States Institute for Theatre Technology, Inc.
Pittsburgh Ballet Theatre; Act I, mansion show curtain paint elevation.
Do you make a lot of trips to and from all of these shops and studios? How do you communicate with the different shops and artisans during the build process?
On the most recent production there was nothing else going on, so there would be times I really didn’t need an assistant and there were times I needed someone badly and they weren’t available. It can be difficult. You want someone to be there daily, not stopping and starting. And if there is another project, or two, that provides steady employment, and a happier assistant.
I made many trips to Tricorne and especially to Martin’s because they are here in the city. Marie and Jeff would send me mock-ups for input. Marianne would e-mail photos. But what you have to realize is that Milwaukee, Pittsburgh, and Alberta ballets all have their own shops, which built the rest of these sizable productions. I made frequent trips to all of them, especially for fittings. Milwaukee has an excellent shop run by Mary Piering, who after her own Nutcracker tackled those Snowballs for American Repertory Ballet. A brave soul. A lot of tulle! Alberta Ballet built their own scenery, and the shops doing the painting sent e-mails with photos, which saved a bit of wear and tear and airfare!
Do you think it’s harder to find good draftsmen, good model makers, or costume assistants? I think it is very hard to find any of them. I’ve been very fortunate to have found excellent people on long-term bases. That includes you, and in a particularly unique and happy situation, your husband Nathan who toiled away on the scenery. It was six years, wasn’t it?
Do you look for somebody who has the ability to see how you work and has an eye for things that you like? Is that most important, or is a good work ethic more important?
Assistants Having assisted you on several productions, I know that you often use the same assistants from project to project. I’m assuming that makes working on large and/or multiple projects much simpler, and that you can just get going on the work?
You need both of those things and more. For costumes you need someone with a good eye, who knows fabric, who understands what I’m after, who can keep the books and has a good work ethic. That’s a tall order. And it has to be someone who is pleasant to be around. That’s all there is to it. You are spending a lot of time with them, traveling with them, sitting through long techs, etc. I always guard against becoming friends with my assistants but it doesn’t work. Most of my friends are people who have worked with me.
Strangely it is easier working on more than one project. While you were waiting for the next Nutcracker decision from me, you dealt with the other show. You were there every day to deal with whatever was priority.
Copyright 2009 United States Institute for Theatre Technology, Inc.
F
A
L
L
2009
theatre
design
&
technology
21
How do you feel artistically about your most recent Nutcracker for Alberta?
Do you feel that if you are asked to design more Nutcrackers that you would have new ideas every time?
The Alberta Ballet Nutcracker was a very positive and gratifying artistic experience. They had a realistic budget, a talented choreographer, a staff that was a pleasure to work with, and an extremely nice company. I was very happy with the results and I think they were as well. There are little “fixes” but there always are on a production of this size.
Well, yes, because I’m not the one who necessarily has to have all of the ideas, and I’m not the only one making decisions. The choreographer and producer/artistic director have input as well.
Could you go back and see a production and not take notes? No.
After working on four Nutcrackers, does it still feel like Christmas when you listen to the music? It’s always Christmas at Zack Brown’s studio. At least for the past ten years!
Could you hum the whole thing?
What are some moments from each of the productions that you are particularly happy with? There are too many to count. I’m very happy with the carousel canopy from Milwaukee and Pittsburgh. It just worked on every level, musically, choreographically and as spectacle. Watching the choreographer getting teary with happiness when she saw the Flowers on stage for the first time (in Milwaukee) was nice. Those kids in the Snowball costumes for ARB always brought a big smile, as did the final little kid emerging from Mother Ginger’s skirt, dressed as a Russian nesting doll in Milwaukee. The Land of Snow in Alberta with the Snow Tsarina and wolves was another high point. Oh, and the Toy Soldiers with wind-up keys turning on their backs— again in Milwaukee. I love doing The Nutcracker; there are so many opportunities for giving the audience pleasure.
I love the score. I don’t get tired of it and I bet I could hum the entire thing. v Andrea Varga is Assistant Professor of Theatre Arts Design, State University of New York at New Paltz. For more information, visit www.andreavarga.com. For more information on performance dates you can visit the following Web sites: www.albertaballet.com/page/the-nutcracker www.arballet.org www.milwaukeeballet.org/performances www.pbt.org/performances/nutcracker
Canada’s Leading Theatre Degree Programs BA Drama & BA Drama Honors BFA Theatre Design BFA Technical Theatre Production & Stage Management BFA Acting MA Drama MFA Directing MFA Theatre Design MFA Theatre Voice Pedagogy MFA Theatre Practice www.drama.ualberta.ca
22
theatre
design
&
technology
F
A
L
L
2009
Copyright 2009 United States Institute for Theatre Technology, Inc.
