Collegian T he Cameron University
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Monday, September 30, 2024
Volume 111 Issue 4
Behind the
Curtain
A backstage look at a CU production Hannah Owens Managing Editor
The curtain goes up at 7:30 p.m. Thursday, Friday, and Saturday, and at 2 p.m. on Sunday. When the curtain rises on “The Complete Works of William Shakespeare (abridged) (revised) (again)” at Cameron University, audiences will see polished performances, intricate sets and costumes that transport them to the Elizabethan era. However, what happens behind the scenes is a flurry of creativity, collaboration and hard work, a process that requires weeks of preparation. From costumes to set design, the effort behind Cameron University's latest theatrical endeavor is a testament to the dedication of students and faculty alike. Victoria Spruill, a senior theater major with a focus on performance, is one of only three actors cast in this fastpaced, comedic take on Shakespeare’s works. With such a condensed play, where the actors are required to quickly switch between multiple roles, she must focus on finding unique aspects of each character, ensuring they stand out from one another. For Spruill, the journey to opening night is both exciting and challenging. "The most challenging part is for me – making it my own,” Spruill said. “I have a really bad tendency of trying to go
with jokes or ideas that other people give me or what's been done before. And I really need to hone in and make it my own character.” The six-week process for preparing the play begins with a read-through of the script during the first week. By the second week, blocking is set, followed by weeks dedicated to scene work. By the third or fourth week, actors are "off book," meaning they perform without scripts in hand. A week later, they go "closed book," where they can no longer call for a line if they forget it. This rigorous process helps actors like Spruill fully embody their roles and bring Shakespeare’s characters to life in new, unexpected ways. Professor Jean Tartiere, the director, is known for his approach to casting. He doesn’t always pick the best actors for a role in the traditional sense. Instead, he selects those he believes will grow the most by taking on the part. “We are doing educational theater, so our considerations are very different,” Tartiere said. Jaiden Standridge, the show’s costume designer, is in charge of bringing the Elizabethan flair to the stage. For Standridge, who is also a senior theater major focused on technical theater, this production doubles as her senior capstone project. Balancing the creativity required with the practical constraints of a budget has been one of her biggest tasks. For this production, the costume budget was set at $800, but Standridge only needed to use half of that, thanks to Cameron’s extensive costume storage. "For this show, I would say it's about 50/50 with costumes," Standridge said. "I was able to source most of it from our basement." From the basement of the theater department, where hundreds of costumes and shoes are stored, she was able to repurpose several items, though some iconic pieces — like the big puffy pumpkin pants worn by one of the characters — had to be purchased specifically for this play. A favorite tool among the department, Amazon, was her go-to for the new additions. Standridge’s love for theater dates back to her time in theater camp as a child. That early experience sparked a passion that has stayed with her through
her academic career. This production, with its mix of old and new costumes, is a culmination of years of dedication to the craft. Another senior working on her capstone project, Shayson Lenee’ Hodges, is the set designer for the show. Dual majoring in theater arts with focuses on both performance and scenic design, Hodges has the unique challenge of balancing the visual needs of the set with the practical realities of staging. For Hodges, the design process is deeply personal. Unlike many modern set designers who use iPads or computer programs to draft their ideas, Hodges prefers a more hands-on approach. "I know I'm in the minority of that, especially today, but I prefer to do all my work by hand," Hodges said. One of the unique aspects of Cameron University’s theater department is their use of a paint frame, a feature that only two other universities in Oklahoma have. This tool allows students like Hodges to craft large, intricate set pieces that bring productions to life in ways that standard equipment might not allow. As a leader, she ensures her team can learn by doing, making mistakes, and ultimately creating something together. "It's a delicate balance of making sure things are getting done on pace, but also making sure that all of the students in practicum and the student workers are learning from their experience," Hodges said. One of her proudest moments as a student was when her suggestion for a previous production, “Ride the Cyclone,” was taken seriously by the department and chosen for the season. At the core of any production is the collaboration between all the different departments. Hodges and Standridge work closely with Tartiere, the stage manager, the lighting and sound operators, props designers, and of course, the cast. Tartiere gives his creative team room to interpret the show as needed. For original Shakespearean productions, he has the flexibility to gender-bend characters or rewrite lines, making them feel fresh and relevant to modern audiences. However, for other shows, contract restrictions might prevent such alterations, leaving less room for
creative liberties. Cameron University’s productions are performed in two distinct spaces. The main stage, which can hold between 300-400 audience members, offers a more traditional theater experience. On the other hand, the black box theater, with a seating capacity of 80-120, creates a more intimate environment where the audience can sit on three sides of the action, making them feel part of the performance. Directors like Tartiere choose the venue based on the needs of the show, balancing intimacy with spectacle. As the production process nears its conclusion, there’s a consensus among the cast and crew: the most rewarding part is seeing it all come together on stage. The long hours of rehearsals, set building, costume stitching and script memorization finally pay off when they hear the audience’s applause. For students like Hodges and Standridge, who are wrapping up their senior capstones, this production marks a significant milestone in their academic journeys. As they prepare to step into the world of professional theater, “The Complete Works of William Shakespeare (abridged) (revised) (again)” serves as a fitting culmination of years of learning, growing and creating.
Graphic by Hannah Owens
What’s Inside Brick to Basics
Presidential Debate
"Speak No Evil"
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