Meet Dr. Sarah Neville, Script Adapter for Henry IV (Parts 1&2)
Dr. Sarah Neville, Assistant Professor of English whose one of many specialties is in Shakespeare’s works, has adapted Henry IV (Parts 1&2) into one seamless drama, enabling the audience to get the full impact of Prince Hal’s tumultuous journey to the throne. Neville is an Assistant Editor of the New Oxford Shakespeare Project and a General Textual Editor of the Digital Renaissance Editions, and has published in Shakespeare, Shakespeare Bulletin, and CNQ.
Coinciding with the run of Henry IV (Parts 1&2), Dr. Neville will be giving a lecture (open to the public) on her adaptation process entitled ‘Break[ing] into this woman’s mood: The Lab Space of Shakespeare’s Henry IV’ which will be in the Robinson Reading Room in the Charles C. Wise Library (Downtown campus) on April 23 at 2:30pm. The Rare Book Room will also be holding an exhibition curated by Stewart Plein of the 1623 First Folio.
Modern audiences will connect very well with the father/son relationship, public vs. private responsibilities, and the fact that this is a wonderful coming-of-age story. Was the political side of Henry IV (Parts 1&2) edited more heavily in order to highlight the journey of Henry, Hal, and Falstaff or did you find that the scenes with these relationships could also use a bit of a trim?
When you read or watch both plays together, you get both of the stories you describe—the political and the personal—but in a shorter version, one or both of these approaches simply have to be cut down so you don’t end up with a six hour play. I created our script by paring down two very long plays into one regular length play, carving out the material that I didn’t want to focus on, and leaving behind what I did want audiences to see. It was almost like carving a relief—the ideas about self-fashioning and world-making that Shakespeare put into the play were suddenly closer together, because intervening lines or scenes were removed. My plan was to highlight Hal’s decision to choose between two worlds—the patriarchal world his father has decided for him, where he is the crown prince, destined to rule a kingdom; and the world of the tavern, where Hal is able to choose how and when to participate in the public life of regular English men and women, regardless of rank. While the focus wasn’t as much on the political relationships of the crown and the militaristic machinations of the rebels, these activities do explain King Henry’s anxieties about his son, and so those details were still important to include in the final script.
Producing Shakespeare’s plays with gender-blind casting as part of the concept is a very exciting trend. How did you determine which roles were suited best to this type of casting and how does it fit with the overall concept for your adaptation?
I think of theatre as a kind of laboratory, where critical ideas can be explored to their fullest potential. One of the things that literary critics do in their essays and books is explain the kinds of social and political histories that underlie an author’s creation of a text in order to show the broader ideas at work within a play or novel. A watershed book in the study of Shakespeare’s history plays demonstrated that the plays articulate a real world change in the way that women were perceived as political players during the War of the Roses and its aftermath—while in the middle ages women were key players in dynastic marriages, that eventually shifted in the early modern period with the advent of a Machiavellian realpolitik that was able to push women out of the picture. You can see this idea at work in Shakespeare’s plays—while the first tetralogy has these amazing scene-killing female characters, like Joan of Arc or Queen Margaret, the second tetralogy has considerably fewer females, and they tend not to be all that much of a threat to the male establishment. The lab space of the CAC production gave me a chance to push on this idea: what would happen if we strategically cast some women back into the key characters who represent threats to social order in these plays, like Hotspur and Falstaff? Would the casting reveal to an audience that these are the same, or different kinds of threats? In this sense, the casting is not gender-blind at all; the play is strategically cross-gendered. I’m going to talk a bit more about this in my lecture on April 23rd.
How do you feel the dynamic will change between Hal and Falstaff, having Falstaff played by a female actor? Is it a non-issue and the relationship should remain the same or do you think you will find endless possibilities for the friendship and a possible romantic angle?
I don’t think there is a romantic angle between Hal and Falstaff, regardless of the genders of the characters. That said, there is a strong emotional and mental attraction between the two characters—Falstaff is able to entertain Hal in part because he seems to be able to accept Hal for what he is at any given moment more than what Hal is eventually going to become. While Falstaff plays with the idea of Hal as the “heir-apparent”, it’s clear that this is as much for the fun of a joke or a pun as it is for any eventual gain. Falstaff is, in this sense, the eternal present, and that’s what Hal seems to likes about him. In contrast, Hal’s father is deeply concerned about the future of his kingdom, and that’s what Prince Hal represents to his father—England’s future. If anything, I think our production’s shift in gender dynamics will probably reinforce, rather than change, this traditional interpretation of the play.
Henry IV (Parts 1&2) is in the Gladys G. Davis Theatre April 16 and 17 at 7:30p.m., and resumes April 22-26 at 7:30p.m., with a closing matinee on April 27 at 2:00p.m.
Tickets are $20 for adults and $15 for senior citizens and WVU students. There is a group rate of $10 per ticket for groups of ten or more.
Tennessee Williams’ The Glass Menagerie runs March 6-7 and returns after spring vacation March 18-23. Meet guest director Kathleen Amshoff and learn more about the production!
Kathleen Amshoff is a New York-based director whose main focus is new works and interdisciplinary projects. She has created original pieces in Zimbabwe, Ecuador and Slovakia with Dramatic Adventure Theatre, and developed new plays at Cherry Lane, Ma Yi, 2G, the Lark, Wild Project, Galapagos Artspace, Culture Project and the Kennedy Center. Kathleen was the 2011 SDC Foundation Denham Fellow for her adaptation of the graphic novel Swell, with further development at the Atomic Centre in Winnipeg. As curator of the performance party HI-LO at JACK, she brings the best of experimental and commercial performers together in one evening. She recently directed a site-specific social history of New York, Manna-hata, at the central post office. A member of Big Art Group, Kathleen has toured to performances venues throughout the US and Europe. She was a Fulbright scholar and an International Forum Fellow at Theatertreffen in Berlin. Kathleen has an MFA in Directing from Carnegie Mellon University, where her projects included Brecht’s Man is Man and Ibsen’s Ghosts. www.kathleenamshoff.com.
1) What have you enjoyed most about reworking a classic?
I’ve enjoyed finding personal resonances for myself and the cast and watching those deepen as we’ve rehearsed. The play’s an icon, but we have to make it active and ours for it to connect with an audience. I must say I’ve also loved living in Williams’ language. The man had a way with a sentence.
(Aubrey Rice, Stephanie Freeman, and Beau Harris in rehearsal, photo by Shannon Dickerson)
2) What was your initial reaction to The Glass Menagerie as a student?
I remember thinking Tom was a jerk for leaving Amanda and Laura. Once I had my own experience of leaving my family and hometown to pursue an artistic calling, I understood him much better!
3) What should people know about The Glass Menagerie if they’ve never encountered it before?
You don’t need to know anything, just come in and enjoy the story. I will say it has deepened my understanding of the play to know more about Tennessee Williams’ relationship with his sister Rose, who inspired the character of Laura. The two were very close as kids. When Rose was a young woman she was diagnosed with mental illness and eventually institutionalized and lobotomized. Williams was tormented by what he perceived as his abandonment of her. For me, knowing the background turns up the volume on Tom’s turmoil in the play.
4) What has been the most enjoyable part of the process?
I’ve loved seeing the student actors, designers and technicians put their personal touches on the production. The first day of tech, it was so fun to see some of the crew learning their jobs—to know this was the first time they’d ever run a sound or light board—and to imagine where it all might lead. In an environment where learning is prioritized, there’s a hunger, curiosity and enthusiasm that’s infectious and invigorating. I think it only makes the work richer.
The College of Creative Arts at West Virginia University will hold a Audition & Portfolio Review Day for prospective students and their families, Saturday, Feb. 8, at the Creative Arts Center.
Events will include information sessions on careers in the arts and behind-the-scenes tours of the Creative Arts Center. There will also be master classes on the downtown campus for dance students. Lunch will be provided at the CAC, as well as complimentary tickets for the matinee performance of the WVU annual dance concert, “Dance Now!” at 2 p.m.
Any students who wish to audition or submit a portfolio on this date will be welcome to do so, as well.
Students who wish to attend Audition & Portfolio Day should register in advance. To see the full Schedule of Events and more details about the audition/portfolio review process, go to the website at open house.
As part of the admissions process for the School of Music and the School of Art & Design, an audition/portfolio review is required for all applicants.
The School of Theatre & Dance does not require a theater audition or a design portfolio unless the student wishes to be considered for a scholarship. However, dance students who wish to enter the School’s Bachelor of Arts degree program in Dance must audition for acceptance.
All three schools offer cash awards and scholarshipsup to a full tuition waiverto students who plan to study for a Bachelor of Music, Bachelor of Arts or Bachelor of Fine Arts degree.
School of Music scholarship recipients are chosen by audition. The criteria considered include: musical accomplishments, scholastic record and musical proficiency.
School of Art & Design scholarship awards are based on portfolio submissions that exceed basic competencies and abilities.
The School of Theatre & Dance offers scholarships on the basis of outstanding talent, academic achievement and the student’s demonstrated potential for success in the program.
Students who would like to register for the Feb. 8 Fall Preview Day may also call the School of Music at 304-293-4532 or the Schools of Art & Design and Theatre & Dance at 304-293-4339.
December 6, 2013
The Liar , the hilarious farce adapted by David Ives continues Friday and Saturday at 7:30pm with a closing matinee on Sunday at 2:00pm!
The scenic design, props, and other technical aspects of the show give this period piece a modern twist and a personality all its own!
Professor Robert Klingelhoefer, Scenic and Props Designer
Prof. Klingelhoefer is the Director of the Design and Technology Program. Klingelhoefer’s work has been seen extensively in New York and regionally for companies including Capital Repertory Theatre, The Texas Shakespeare Festival, The Puerto Rican Traveling Theatre, The Asolo Theatre Company, The National Playwright’s Festival at the Eugene O’Neill Theatre Center, The Cricket Theatre, The New York State Theatre Institute, Childsplay, The Acting Company, and The Shakespeare Theatre at the Folger.
He has been an adjunct faculty member or guest artist at many academic institutions, including Elizabethtown College (PA), Washington College (MD), Dickinson College (PA), The University of Tennessee, Montclair State College (NJ) and The University of South Carolina.
He has been a member of United Scenic Artists, Local 829 since 1983.
Joe Dotts, Asst. Scenic and Props Designer
Joe Dotts is a senior currently in his third year as a part of the West Virginia University School of Theatre and Dance’s Design and Technology program. The Liar marks Joe’s second time serving as the Assistant Scenic Designer for Professor Robert Klingelhoefer, the first being the WVU production of Lend me a Tenor in 2012. Joe’s work as a Props Master at WVU has been seen in The Shape of Things, The Cherry Orchard, and most recently: Cabaret. Additionally his prop work has appeared in several other WVU shows, and at New York Stage and Film’s Powerhouse Theatre in Poughkeepsie, New York.
Jacob Bigelow, Technical Director
Jacob Bigelow is a graduate student at West Virginia University’s School of Theatre and Dance where he is currently seeking his MFA in Scenic Design. Over his past year of studies, Jacob has had the chance to focus on scenic design as well as develop an in-depth understanding of technical direction. Before his studies at WVU, Jacob worked as a sound designer at Long Lake Camp for the Arts, and as a stagehand and Head Carpenter at the Washington Pavilion. Jacob has obtained a Bachelors of Science in Communication Studies and Theater from South Dakota State University. During his studies at SDSU, he designed two main stage productions and worked with a variety of the technical aspects of theater including sound design, technical direction, and scenic design. Jacob will graduate from the WVU program in 2015.
December 5, 2013
The Liar, the hilarious farce adapted by David Ives continues Thursday-Saturday at 7:30pm with a closing matinee on Sunday at 2:00pm.
Meet Dorante, Cliton, Philiste, Alcippe, and Geronte!
Kyle Walter as Dorante
Kyle Walter is a second-year graduate student in the MFA Acting program here at West Virginia University. Kyle attended East Tennessee State University for his B.A. in Theatre. Kyle has worked in theatres around the region including Seaside Repertory Theatre in Seaside, Florida, Unto These Hills in Cherokee, North Carolina and Trail of the Lonesome Pine in Big Stone Gap, Virginia. Kyle has been seen on the WVU stage as Leonardo in Blood Wedding and Cradeau in No Exit. Some of Kyle’s favorite roles include Clown 2 in 39 Steps, Oedipus in Oedipus Rex, Big Daddy in Cat on a Hot Tin Roof, and Will Masters in Bus Stop. Kyle is also certified in unarmed combat with the Society of American Fight Directors, as well as extensive training in rapier and broadsword. In his spare time, Kyle thoroughly enjoys bowling, billiards, fishing, darts and playing the guitar. He would like to thank Jim Knipple, Jerry McGonigle, and the rest of the staff here at WVU as well as the cast, crew, his friends and his parents for their support.
Landon Green as Cliton
Landon Green is a second-year MFA student in the acting program at WVU. He earned his BA in Theatre at the University of South Florida in Tampa, FL. In the Tampa Bay area, he also earned his wings professionally onstage and back as an actor, costume designer, director, educator and manager. His favorite roles include Roy Selridge in Biloxi Blues (Stageworks Theatre), Valere in Tartuffe (Tampa Repertory Theatre), Ferdinand in Love’s Labour’s Lost (St. Pete Shakespeare Co.), Jack in Beanstalk (Play N’ Around Theatre), and as Yasha in last spring’s The Cherry Orchard at WVU. I want to reinforce Jim for guiding me through this wonderful fool, the wonderful cast, especially Kyle, for being at my side, the tough crew for keeping me in line, and my friends and family here and back home for being! Enjoy the show! ILYBJP
Joshua Smith as Philiste
Joshua is excited to be playing Philiste for his capstone here at WVU. He would like to thank all of the faculty here at WVU, his family, and friends for all the support he’s gotten over the most insane 4 years of his life. He would also like to thank Jim, Ariel, the stage management, and his fellow actors for never giving up on him through this process. During his time at WVU, Joshua has been seen in Guys and Dolls, The Crucible, Carmen, The Diviners, Kingdom Come, and Lend Me A Tenor. Back home he was in several shows including: Into the Woods, All Shook Up, Thoroughly Modern Millie, and Back to the 80’s.
Ryan Leach as Alcippe
Ryan Leach is very excited to be a part of this wonderful show! He was most recently seen in WVU LABTheatre’s production of The Dark Scottish Play at Night. (Macbeth/Macduff/Malcom) He would like to thank the cast and crew for making this such an enjoyable and fun process and Jim for believing in everyone working on this show. He hopes you enjoy the show!
Nick Ryan as Geronte
Nick Ryan is a second-year MFA student in Acting here at West Virginia University. Since arriving on campus, he has participated in Lend Me a Tenor, The Cherry Orchard, God of Carnage, and is now thrilled to be a part of The Liar! David Ives has long been one of his favorite playwrights, and he is excited to get to portray a role on stage written by his hero. Other favorite roles have included Bazzard in The Mystery of Edwin Drood, Jud Fry in Oklahoma! and Horton in Seussical!
December 3, 2013
The Liar, the hilarious Corneille farce adapted by David Ives, continues Dec. 3-8 in the Gladys G. Davis Theatre!
Here are the ladies that get caught up in the web of lies…
Photo by Steven Neuenschwander
Shannon Uphold as Clarice
Shannon Uphold is a junior in the BFA Studio Acting program at West Virginia University. She was born in Morgantown, West Virginia and was most recently seen in the directing project Othello and WVU’s mainstage production of The Shape of Things. She wants to thank her professors, friends, and wonderful cast and crew for all of their support and Jim Knipple for this incredibly unique and impacting experience.
Mya Brown as Lucrece
Mya Brown (Lucrece) is an MFA Acting Graduate at WVU. She is a native of Champaign, IL; however she lived in Jacksonville FL and received her BFA (Theatre) from Jacksonville University. You may remember Mya from West Virginia University’s The God of Carnage (Veronica Novak) and No Exit (Inez Serrano). Mya has enjoyed working with such a wonderful cast and crew. She would like to thank; her wonderful family for adapting to her absence, Shannon and Stephanie for being AWESOME scene partners, and Jim for empowering her to find her inner Disney princess. “Enjoy the show its going to be loads of fun!”
Stephanie Freeman as Isabelle/Sabine
Stephanie Freeman (Isabelle/Sabine) is a second-year MFA Acting student and is thrilled to be playing twins! She has a BA in English from The University of Alabama and a BS in Theatre Performance from Middle Tennessee State University. Last year she appeared in The Cherry Orchard and Lend Me a Tenor. Many thanks to the wonderful cast and crew for such a fun time, Jim for teaching us all how to jump together, and to my parents for their love and support.
November 19, 2013
Stage managers are the first to arrive each night and the last to leave! Meet The Liar’s fantastic stage management team!
Zoe Teets, Stage Manager
Zoe Teets is a senior Multidisciplinary major with a focus in theater production. She is an alumnus of The Dell’Arte School of Physical Theater and former puppeteer with Madcap Puppets located in her hometown of Cincinnati, Ohio. This is her stage management debut at West Virginia University. She would like to thank this challenging and inspiring ensemble, and Jim, without whom this production might have been good, but not great.
Cora DeFazio, Asst. Stage Manager
Cora Elizabeth DeFazio is a senior finishing her BA in Theatre. She was most recently property intern at the Pittsburgh Civic Light Opera House as well as assistant stage manager for West Virginia University’s production of Carmen. She is excited for this opportunity to be involved in such a hilarious farce and hopes to continue her career in stage management after graduation. Cora would like to thank the cast for making her laugh, Zoe for helping her reach her goals, and Jim for encouraging her to pursue her passion for theatre.
Jason Lee, Asst. Stage Manager
Jason Lee is a Junior in the BFA Puppetry track at West Virginia University. From Norfolk, Virginia he’s spent the past five years as a full body muppet and puppeteer working at Busch Gardens Williamsburg. He’s done numerous backstage jobs throughout high school and college, played the Scarecrow in The Wizard Of Oz, Thoreau in The Night Thoreau Spent In Jail, Linus in Snoopy!!, and has too short a space to impress you with all of his awesomeness in this bio. And oh, he’s the Assistant Stage Manager for “The Liar,” Enjoy it!
There’s a LAB Show this weekend!
LAB Theatre’s second show of the season is Gruesome Playground Injuries by Rajiv Joseph
Directed by Vincent Pelligrino
It’s love at first sight, or really love at first maiming for LAB Theatre’s second show of the season, Gruesome Playground Injuries by Rajiv Joseph, a recent off-Broadway success which follows the lifelong friendship of Kayleen and Doug intersecting at the most bizarre times, involving their mutual tendency for physical calamity. The show runs Nov. 15-16 at 7:30p.m. and Nov. 17 at 2:00p.m. in the Vivian Davis Michael Laboratory Theatre (VDM) located in the Creative Arts Center.
Gruesome Playground Injuries stars BFA Acting students Megan Schreiber and Ben Forer and is directed by MFA Acting student Vincent Pelligrino, who most recently finished his stint as the Master of Ceremonies in the mainstage production of Cabaret.
“This show is an attractive play for a LAB setting.” says Pelligrino. “Ironically, no playgrounds are involved and the show calls for minimal sets with only two actors, and the main focus is on the relationship between these characters. Audiences should come see Gruesome because it speaks to all of us on some level, no matter what stage of life we are at; we all experience pain, whether physical or psychological, and we all have people that are there to get us through.”
Admission is free for Gruesome Playground Injuries, but seating is limited. Attendance forms for classes will be available after the production. The show contains strong language.
Meet the Gruesome Team!
Ben Forer as Doug
“This is my first time performing in a lab theatre show and it has been a great experience. The short rehearsal process was certainly daunting, and would not have been possible without the help, patience and support of everyone involved. Thanks to Megan for being so easy to work with, to Vince for being so insightful, to Hannah for EVERYTHING she did, to Mari for her lighting design, and to Tim for helping with the lights and set. And thank you, for coming out to support the arts here at WVU!”
Megan Schreiber as Kayleen
Megan Schreiber is a senior in the BFA program here at WVU. She is excited to be part of LAB Theatre again this season having previously appeared in numerous LAB Shows including last semesters This Is Our Youth and Five Women Wearing The Same Dress. Megan would like to send a billion thanks to Vince, Ben and, Hannah for making this experience as fun and exciting as it has been.
Vincent Pelligrino, Director
Vincent Pelligrino is an MFA Acting student in his second year. He holds a BA in Theatre from Wisconsin Lutheran College in Milwaukee, WI. As a Theatre graduate teaching assistant here at WVU, he gets to coach his students on scenes and monologues, but he is happy that this project has allowed him to work with more experienced actors, especially his lovely and talented cast of Megan Schreiber and Ben Forer. Thanks to Hannah Redmond for stage managing, prop mastering and general helpfulness and to Mari Smith for lighting design, board op’ing and general
Hannah Redmond, Stage Manager
Hannah Redmond (Stage Manager) is a senior in the BFA Acting Studio at WVU. She has been involved with many LAB Theatre productions, but this is her first time behind the scenes! She is grateful for the opportunity and thanks Vince, Megan, and Ben for their work. Enjoy the show!
Mari Smith, Lighting Designer
Marguerite (Mari) Smith is a sophomore BFA Theatre Design/Technology major at West Virginia University. Previously, she was a stagehand for Blood Wedding as well as a dresser for Carmen. She also designed the lights for University High School’s production of Once on this Island last spring. She is the stage manager for Dance Now! in February. She wishes the best of luck to the cast, the crew, and everyone else who has helped make this show possible and hopes you will enjoy the show.
November 13, 2013
The Liar by David Ives, directed by Professor Jim Knipple, is coming to the Gladys G. Davis Theatre Nov. 21-22 and Dec. 3-8!
All the world’s a lie, and all the men and women merely liars! WVU School of Theatre & Dance’s final show of the fall season is a laugh-a-minute French farce with a very American sense of humor, The Liar by David Ives, adapted from the comedy by the seventeenth-century French dramatist Pierre Corneille.
Kyle Walter (Dorante), Nick Ryan (Geronte), Landon Green (Cliton)
(Photo by Isaac Snyder)
Charming, handsome and an incorrigible liar, Dorante has come to Paris seeking pleasure. He falls head over heels in love with the beautiful Clarice, but the old boy meets girl scenario goes horribly awry! Mistaking her name for that of her best friend, Lucrece, Dorante winds up getting involved in a duel, tangling himself in a series of gargantuan lies, and all the while, truly making his mark on Paris! Sophisticated, fiendishly clever, and a bit naughty, this playful adaptation of the classic Corneille French comedy makes for an evening filled with delight!
Shannon Uphold (Clarice) and Kyle Walter (Dorante)
(Photo by Isaac Snyder)
Costume design is by Professor Mary McClung.
Scenic design is by Professor Robert Klingelhoefer.
Stephanie Freeman (Isabelle) and Landon Green (Cliton)
(Photo by Isaac Snyder)
The Liar runs in the Gladys G. Davis Theatre in the Creative Arts Center on the Evansdale Campus Nov. 21-22 at 7:30p.m. and continues Dec. 3-7 at 7:30p.m. with a closing matinee on Dec. 8 at 2:00p.m.
Tickets are $20 for the general public and $15 for senior citizens and students. There is a group rate of $10 per ticket for groups of ten or more.
No lie, get your tickets today by calling (304) 293-SHOW or visiting the CAC Box Office (M-F; 10am-6pm)!
Yoav Kaddar, director of the Dance Program at WVU, recently returned from a residency at the Department of Theatre and Dance at the University of Texas, Austin, as part of the Big XII Faculty Fellowship he was awarded last spring.
While in Texas, he worked with the UT Dance Program’s 73 dance majors, as well as a new class of 37 freshmen. The University of Texas offers both a Bachelor of Fine Arts degree in Dance, as well as a Bachelor of Arts degree in Theatre and Dance.
“I’m grateful to have been chosen to participate in this special opportunity,” Dr. Kaddar said. “The visit was very productive. My hosts scheduled a week that focused primarily on re-staging one of my dances, titled ‘Raw,’ and I also taught three master classes, including two in modern dance technique and one in modern dance partnering.”
“Raw” will be featured in UT’s premier dance concert, “Fall for Dance,” scheduled for November.
The week began with a technique class for the upperclassmen, which also served as an audition for casting Kaddar’s dance. Daily rehearsals were scheduled for the afternoons and evenings, during which time Kaddar made alterations and added new choreographic material to “Raw.” He also met with costume and lighting designers.
They finished staging the piece in three days and the week culminated with an informal showing of “Raw,” that was open to the entire dance program. This was followed by a question-and-answer session between the audience and Kaddar. The questions focused on his choreographic processes and specifically on “Raw,” as well as on his professional dance experiences and his teaching philosophy.
As part of the Big XII Faculty Fellowship exchange program, Professor Holly Williams, the head of the UT Dance program, came to WVU in October, where she visited Kaddar’s dance studio to choreograph an original work with students for WVU’s “Dance Now!” concert scheduled for February 6-8, 2014.
Professor Williams also presented a number of master classes for the WVU Dance majors and minors.
“I hope that the Big XII fellowship program continues, as it gives us the opportunity to engage in productive and informed research and creative activities with colleagues at Big XII schools,” Kaddar said.
“I plan on re-staging ‘Raw’ with our students for the 2015 Dance Now! concert, as well as teaching material from the dance in several of the courses I teach this fall semester.”
Kaddar is a graduate of the Juillard School, where he earned a BFA and received the Martha Hill Award for Outstanding Achievement and Leadership in Dance. His MFA is from the University of Washington, Seattle, and his doctorate is from the State University of New York (SUNY), Albany.
He has performed nationally and internationally as a guest artist and has been a member of such modern dance companies as the Jose Limon Dance Company, the Paul Taylor Dance Company, Pilobolus Dance Theatre, Peter Pucci Plus Dancers and Jacob’s Pillow’s Men Dancers. He has also danced with numerous independent New York City choreographers and has choreographed more than 60 works for dance and theater.
Kaddar in rehearsals with University of Texas dancers
Kaddar teaching Modern Dance Partnering class
WVU dancers with Holly Williams (in front), head of the University of Texas dance program