Audition: Hale Center Theater 2018 – Daddy Long Legs

Auditions for Daddy Long Legs will be held, by appointment only, Monday, May 28th, 2018 at Hale Studios (537 N. 1200 W. in Orem).

Appointments may be made by calling the box office at 801-226-8600. Please arrive 15 minutes prior to your scheduled appointment to fill out the appropriate paperwork before your audition time.

Please prepare 16 bars of a song in the style of the show. An accompanist will be provided. Headshots and resumes are encouraged. Bring sheet your sheet music.  No minus tracks may be used.

Daddy Long Legs will be directed by David Morgan with music direction by Justin Bills and choreography by Jenny Barlow.

Callbacks, by invitation only, will be on Saturday, June 2nd, 2018.

Anyone who is unable to attend the initial audition may submit an audition form and video. Please send your video along with a headshot, resume, and your audition form to no later than May 27th to be considered for callbacks. You may download the audition form HERE

Character Descriptions
(Auditions are open for Men ages 25-40 & Young Looking Women ages 20-25)

JERUSHA ABBOTT (Female, ages 20-25): Witty and intelligent, received funding for college from an anonymous benefactor whom she dubs Daddy Long Legs. The oldest orphan in the John Grier Home. Vocal Range: G3-Bb5

JERVIS PENDLETON (Male, ages 30-40): Jerusha’s anonymous benefactor. A shy and socially awkward philanthropist. Vocal Range: G3-G#4

Daddy Long Legs 2018 - Hale Center Theatre


ATHE 2018

Registration begins May 31, 2018 to attend the conference!

Theatres of Revolution: Performance, Pedagogy, and Protest

The 2018 ATHE Conference focuses on revolution, resistance, and protest, and the multiple ways these ideas – and the actions that spring from them – impact theatre in higher education. Drawing on the city of Boston for its historical significance in the American Revolution, and as a site of both academic excellence and artistic innovation, we aim to explore revolutions at the multiple intersections of politics, theatre education, and professional practice.

Revolution and resistance are tools employed combat injustice and inequality. However, these tools can be used to effect change in any direction, to create more open and equitable societies, or less. In the 2016 US presidential election and its wake, and heading into 2018 midterm elections, the concept of revolution has been used by both left and right. We will consider various meanings of revolution, in scholarship and performance as well as in our work as educators with students in the classroom, rehearsal hall, and in the larger context of college campuses.

The conference theme invites examination of ways in which electoral representation resonates with theory and practice in theatre-making: How does representation in politics relate to equitable and fair casting and employment practices? How do changing practices require revolutions in production methods and pedagogies? How might theatre scholarship serve a meaningful public function, engaging with performances – both artistic and civic – that surround us? How might we create art that is aesthetically revolutionary and that activates audiences to make lasting social change?

Boston’s history allows us to consider performance and revolution in uniquely complicated ways. Events of the American Revolution are memorialized throughout the city in museums and public monuments, many involving performed reenactments. The site of the Boston Tea Party, a protest by white men who masqueraded as Native Americans to resist “taxation without representation” by the British, is marked by a museum only a short distance from the conference hotel. However, other revolutions remain unmarked, such as the systematic and violent dispossession of the Wampanoag, Nipmuc, Massachusett and other nations of the Dawnland by European colonists. In contemporary US politics, the Tea Party has itself become a kind of costume for protest. Groups claiming its ethos arguably play with tropes of revolution alongside those of racial superiority, misogyny, and nativism. Consideration of how contemporary and historical enactments of US foundational stories perform race and gender, as well as erasure of the land’s history before colonization, raises complex questions concerning representation and revolution in this context. These questions resonate in turn with debates prompted by popular theatrical productions like Hamilton, which not only evidences revolutions in storytelling and casting practices, but famously inspired a twitter war between artists and politicians about the role of theatre as “safe space” or platform for protest.

We see questions about safe space and protest rising on college campuses: demonstrations and counter-demonstrations by right and left, changing policies regarding academic freedom, the development of professor watch lists, conceal and carry laws, designation of sanctuary campuses, and the ongoing impact to students especially vulnerable under new policies, including undocumented and transgender students. These concerns intersect with urgent questions over funding for the arts and for higher education, the cost of education, and perpetuation of economic and institutional inequities on racial, ethnic, and gender lines.

Join us in Boston in 2018 to explore the precarity and potency of theatre in higher education to protest oppression and advance revolutionary change.

Vice President for Conference 2018
Ann Shanahan


For more detailed information on the submission and evaluation processes, please refer to the Proposals FAQs and Grant FAQs.

Important Dates

November 1, 2017 Deadline for online proposals
February 15, 2018 Notification of acceptance
March 30, 2018 Notification of ATHE Grant awards
May 1, 2018 Registration opens
May 15, 2018 Materials due to your Focus Group Conference Planner:
• Finalized session description for the printed program (no more than 30 words)
• Finalized session title
• Finalized listing of session participants, paper titles, and institutions for the printed program
June 4, 2018 Early Bird Registration ends
June 15, 2018 Conference registration required for all presenters

2018 Conference Committee

David Callaghan, University of Montevallo
Bethany Hughes, Northwestern University
David Kaye, University of New Hampshire
Baron Kelly, University of Louisville
Kareem Khubchandani, Tufts University
Monica White Ndounou, Dartmouth College
Karen Jean Martinsen, Chicago State University
Kathleen McGeever, Northern Arizona University
Ruth Pe Palileo, Current Theatrics and Pintig Cultural Group
Becky Prophet, Alfred University
Emily Rollie, Central Washington University
Rodger Sorensen, Brigham Young University
Megan Shea, New York University
Harvey Young, Northwestern University, ATHE President, ex officio member

Questions? Email

Department News 05-14-18

Scott Christopherson recently finished making The Insufferable Grooa feature length documentary about a local oddball filmmaker, and BYU Grad, Stephen Groo. The film looks at Steve’s life after 20 years of filmmaking and 205 films, as he tries to make it big. He attempts to re-make his next big hit, an elf/human love story film titled The Unexpected Race.  Groo is a true American Do-it-Yourself film auteur. His eccentric style has gained him a loyal Hollywood fan base including Jared Hess (director, Napoleon Dynamite & Nacho Libre), Jack Black, Jemaine Clement, and Mike White.  Because of his obsession with making films, Groo and his wife, Sherry, and their four children rely solely on his wife’s income, and he has never made a profit. The film follows Groo as he tries to woo and cast Jack Black as the sheriff in his film. With no permits, little money, and volunteer actors, Groo’s yearlong production encounters problems that threaten to shut it down daily. But finally, in a surreal moment, Jack Black agrees to be in Groo’s movie. Groo drives to Los Angeles to film and direct Jack as he plays a small-town sheriff trying to take down the rogue elf in The Unexpected Race. But since the finish of his masterpiece, Groo finds himself still seeking for distribution and a chance to make it big.  On a broader level, the film explores the role of artist and the cost of pursuing one’s dream.  The Insufferable Groo was recently selected to the 2018 Sheffield Documentary Film Festival, in Sheffield, England. Indiewire calls Sheffield “one of the top dozen doc festivals in the world.” It is considered the UK’s biggest non-fiction film festival and the third largest international festival in the world. PBS lists Sheffield as one of 20 “top tier” film festivals in the world. Out of thousands of submissions, only 180 films are selected each year, and only a portion of those are feature length films. Of those thousands of films entered, only 35 are selected as world premieres. The Insufferable Groo was honored to be selected as a world premiere.  In 2017, a record total of 72,146 people attended, including 3,397 industry delegates who travelled from 54 countries and included 36,008 public audiences. It’s a huge honor for Scott to premiere The Insufferable Groo at Sheffield this June.  To access their kickstarter page, click here; to access the film’s webpage, click here.

The Insufferable Groo.png

Shawnda Moss was honored in the AATE Incite/Insight magazine.  Justin Charles, who currently teaches high school, attended and liked the workshop she gave last fall so much that he wrote an article about his experience. Shawnda is glad someone found it immediately practical and useful, which is what she tries to do.  Shawnda has been approached by the editing team and asked to write a companion article to the piece.  The article is pages 16-17 of the winter 2018 edition of Incite/Insight, available here. The article reflects well on TMA’s Theatre Education program and philosophy of teaching.

Incite:Insight Article

London Film Study Abroad, as reported by Brad Barber:  Things are off to a great start with week 1 in the books here in London.  The students all arrived safely, acclimated, and have jumped in completely to the various bewildering cultural offerings in this city.  One of them has even passed a kidney stone!  Dean and Brad have enjoyed teaching in the historic Hyde Park building and have accompanied the students on several outings.  Brad’s wife Susan and boys Andrew and Sammy are enjoying these outings with the students too, with Andrew (age 13) attending classes regularly.  Everyone in the program is thrilled and tremendously grateful to be here.

Theatre London Study Abroad, as reported by Hannah Gunson-McComb:  The students have really taken their theatrical freedom in stride— most spend their days doing “double features,” booking matinees in addition to our planned evening shows. What’s especially cool is that each student has enough theatre to supply their needs! We have students interested in fringe theatre, musicals, and everything in between. London has no shortage!  We had the pleasure of seeing Strictly Ballroom (based off the movie), Red (a play about Mark Rothko and the Seagram murals) and Way of the World (a French farce). The class was enthusiastically in favor of Red, being very inspired by the artist’s onstage struggle.  We’re off to Stratford Upon Avon bright and early today!

London Theatre Study Abroad Week 2.png

Here are some fun photos of the Divine Comedy workshop trip to London! Photos include Divine Comedy advisor, George Nelson, and his wife, Leslie, as well as the following cast members:  Julianne Cook, Aaron Fielding, Alena Helzer, Becca Hurley, Addison Jenkins, Dalton Johnson, and Parker Kelly.

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Grant 2018: Laycock Center for Creative Collaboration BYU

DUE DATE: September 27, 2018


The Laycock Center for Creative Collaboration in the Arts provides project funding to College of Fine Arts and Communications (CFAC) faculty and students who:
• Foster opportunities for faculty and students to develop as creative collaborators and excel in collaborative arts and communications environments.
• Promote mentoring relationships in which students have the opportunity to grow as creative leaders, problem solvers, and collaborative innovators in arts and communications contexts.
• Nurture creative relationships on campus across disciplinary boundaries.


1. Who may participate in projects? Successful proposals will require primary involvement of CFAC faculty and students. Other non-CFAC BYU personnel, and people from other professional or artistic entities, may be included if they work directly with CFAC faculty/students.
2. Who may submit proposals? Proposals for the project funding must be submitted by CFAC faculty or students.
a. Faculty must discuss their proposals with their department chair/school director prior to submitting their online application.
b. Student proposals must include at least one faculty mentor letter of support stating how the faculty mentor intends to support the project. Students must also discuss their proposals with their department chair/school director prior to submitting their online application.
c. Following the application submission deadline and before funding decisions are made, chairs/directors will provide input to the Laycock Funding Committee.
3. What clearances are required? If applicable, before the project is funded, applicants must be apprised of university guidelines for creative control of works produced with campus resources, and must seek appropriate clearance through the Office of Research & Creative Activities (ORCA) Institutional Review Board for Human Subjects (IRB), ( and the BYU Creative Works Office (
4. How are projects evaluated? Successful proposals will incorporate and explain the following criteria:
a. Environment for Creativity and Innovation – Does the project foster a creative environment in which participants explore, apply, and share learning within and across disciplinary boundaries?
b. Pathways to Collaboration – Does the project invite participants to develop innovative creative work together?
c. Meaningful Role – Does the project expand creative processes and experiences where authentic collaboration is as valued as the final outcome?
d. Mentor and Inspire Students – Does the project description place students at the center of the creative process with elevated roles of responsibility? Does the project have potential to engage creative leaders, problem solvers, and collaborative innovators through deeper interaction and sustained involvement?
e. Create Meaningful Impact – Does the project create meaningful impact in one or more of the Aims of a BYU Education (
f. Interchanges with Public – How is the project going to be made public?


1. Concept Development—up to $1,000 To explore, prototype, and develop possible creative ideas.
2. Faculty Fellows—up to $10,000 To support faculty-led projects with collaborators. Faculty may seek a possible course reduction through their chair/director.
3. Mentored Collaborations—up to $30,000 To provide students with deeper interaction with faculty, sustained involvement over time, and elevated leadership roles. Faculty and students serve as co-authors, co-creators, co-leaders of faculty-led, cross-disciplinary projects. Mentored collaborations may be credit-bearing projects, which are supported and approved by the faculty’s chair/director.


1. Funds must be used OR assigned within the calendar year they are received. However, if assigned to a department project account, the funds will carry over to the next financial year.
2. Student funding accounts can be set up in the student mentor’s department/school.
3. Faculty projects can receive funding from multiple sources (i.e. Film and Digital Media funding, MEG and ORCA grants, Professional Development, Research & Creative Activities, etc.).
4. Funds can be used for expendables/supplies, travel (where appropriate and within reason) and other equitably determined expenses.
5. Funds received cannot be used to pay wages of primary faculty or student applicants (project leaders).
6. All equipment or software purchases must be below $5k per item and will be the property of BYU.


1. Credits When the project is made public, the applicant is responsible to ensure that the Laycock Center funding support is acknowledged in all publicity materials, programs, credits, handouts, media, and any other materials associated with the project, as follows: This project was funded by (or in part by) The Laycock Center for Creative Collaboration in the Arts College of Fine Arts and Communications Brigham Young University
2. Funding Reports
a. A final funding report must be submitted by the primary faculty or student applicant (project leader) when the project is completed.
i. At the conclusion of the project, all participants are required to submit a report to their project leader regarding their experience.
ii. The project leader is responsible to prepare written, visual, and/or aural documentation of the project that can be presented to the donors, BYU leadership, and online.
b. Final reports are submitted online. To submit final reports online, click here.
c. If it is a multi-year project, a progress report should be submitted annually to Amy Jensen at by the anniversary date of when the award was given.

To apply for this grant, click here.

Department News 05-07-18

Be sure to check out BYU Magazine with a fun article on the making of cult-classic Napoleon Dynamite.  The article includes memories of the project from alums Jared and Jerusha Hess, Jon Heder, Jeremy Coon, Emily Kennard Dunn, Cory Lorenzen, Munn Powell, Christopher Wyatt, and famed principal, Tom Lefler.  Here’s a link to the online version of the article:   And here’s a link to an article on how that fantastic cover art was made from 25 pounds of tater-tots:

Napolean Dynamite

Michael Kraczek recently returned from his most recent collaboration with the Theatre Engine project.  Each time the production team builds off of their previous productions, applying what they have learned about audience interactive performance in new ways and developing new methods of facilitating audience/ performer interaction.  This time around, the development group, which includes Michael, Kori Wakamatsu (Dance, BYU), Alison Dobbins (Theatre, Michigan State University), Dr. Charles Owens (Computer Science. Michigan State University), and Bradley Branam (Theatre, University of Oregon) joined with Dr. Shondrika Moss-Bouldin (visiting artist at Georgia State University) and her students, plus playwright Kristin Idaszak, and composer Dr. Alexis Bacon to devise Shark: An Interactive Musical.  Now, the audience determines what happens in the tale:  Who dies? Who escapes?  The interactive workshop performance took place at Georgia State University on April 21 & 22, 2018.  Audience members interacted with the performers through music tempo, choosing plot twists through polling, controlling lighting, and even joined the performers on stage!  In feedback sessions after the performance, audience members reported that the best part was being able to control the plot.  Future development of Shark: An Interactive Musical will take place at Michigan State University in 2019.  Here is a link to a website with conceptual ideas for the production. (The current script version departs somewhat from the initial ideas.)

Shark - The Interactive Musical

Theatre London Study Abroad report from Hannah Gunson-McComb: BYU students, including many TMA and English students, Megan Sanborn Jones & family, and Lance Larsen (English), successfully completed a week in London!  Students have really taken to heart the professors’ urging to “get out and explore”— since day one, they’ve been running around (in good taste) and visiting museums, galleries, historical sites, anything they can get their eyes on.

As a class, we’ve seen two shows and been on a tour of the National Theatre. On the tour, our guide showed us each of the three theatres housed in the large, brutalist building. The guides also showed us several work rooms for carpentry, painting, and welding as well as a rehearsal room.  We’ve seen The Encounter— a one-man performance of an anthropologist who explores the Amazon. The single performer used sound (self-made, live mixed, pre-recorded), and the audience all wore headphones so as to feel an intimate proximity to the story and the actor. Most of the students were awed by the technical prowess and complexity of the show. A few, admittedly, were struggling with jet lag and may have dozed off for a moment… but we won’t fault them.  We saw Macbeth at the National on Saturday. This performance was met with some criticism on the students’ end. The general consensus was one of disappointment, feeling as though many choices that could have, maybe should have, been made were neglected, and many more choices didn’t work. Initially there was a lot of hope and some high expectations, but they fell rather flat.

London Study Abroad - Week 1

The 17th annual Brigham Young University BFA Senior Showcase took place in New York City on May 1st and 2nd.  The ‘open’ showcase performances at the June Havoc Theatre in mid-town Manhattan on Tuesday, May 1st were very well-attended by both industry professionals and BYU alumni.  The annual Showcase has become a terrific Alumni Reunion each year and the result has been an ever-strengthening network of alumni in the New York City area. And the number of agents, casting directors and producers attending was higher this year than ever before. Faculty members Tim Threlfall, Gayle Lockwood, and Stephanie Breinholt all attended the Showcase in New York City this year; Lindsi Neilson also attended as a producer.  This year’s Showcase was unique in that for the first time, there were MORE BFA Acting graduates in the Showcase than MDT students. Seven BFA actors and six BFA MDT students participated in the Showcase. (To see bios and head shots of all those who attended, go to )  Several BFA Actors performed songs in the Showcase and a number of MDT student did one song and an acting scene.  Tim Threlfall, director of the Showcase commented: “The monologues and scenes this year were really the best we’ve had.  Sometimes it is hard for the scenes and monologues to compete with the energy created by the musical selections. But this year they really did. I think we hit a new standard this year for the scenes and monologues.  It was great!”  Four of our male students (two BFA actors and two MDT) were immediately called-back after the first Showcase performance to audition for BOOK OF MORMON, the musical, and Tierney Bent, an MDT student was called-back to audition for Glinda in WICKED…all from the first performance that day.

The Showcase was also presented in a ‘private’ session at famed Telsey Casting on Wednesday, May 2nd.  This session was arranged by Casting Director Rachel Hoffman, who has been working with the BYU group for four years now.  Rachel comes to Utah each winter term and works with the Senior Showcase and then promotes the BYU presentation in New York.  Most recently, Rachel is the lead Casting Director for Broadway’s FROZEN and ESCAPE TO MARGARITAVILLE. In the ‘private’ session at Telsey Casting (the largest casting company in NYC that casts many Broadway shows as well as respected film and television productions such as THIS IS US and THE GREATEST SHOWMAN), Rachel arranges for four agents to watch the Showcase and then speak with the students in a question and answer session following the performance.

In addition, the BYU group also participated in another BROADWAY SESSIONS this year.  BROADWAY SESSIONS is a fun, late-night cabaret performance that highlights casts from different Broadway musicals performing show tune favorites.  Select musical theatre training programs and their Broadway alumni are also featured.  Four BYU Music Dance Theatre alum with recent Broadway credits performed and virtually all of the BFA graduating class of 2018 also performed.  The host of Broadway Sessions is from Orem, Utah…go figure. So many LDS Primary songs were sung by the group as well.  It is quite prestigious for BYU to be asked to participate in Broadway Sessions.

NY Showcase 2018.png







Audition: Draper Historic Theatre 2018 – Thoroughly Modern Millie

Draper Historic Theatre is excited to announce auditions for their production of Thoroughly Modern Millie

AUDITION DATES AND TIMES: May 15th from 7-9 & May 16th from 7-9
Make your Appointments at the Following Link:
Auditions will be held at the theatre: 12366 South 900 East, Draper, Utah

Callbacks, by invitation only May 19th from 10-2

This production will be COLOR BLIND CASTING for all roles except for Muzzy, Ching Ho and Bun Foo where color appropriate casting is required. All genders and body types are also welcome to audition. Casting is open for all roles and for ages 14 and above.

Auditioners are asked to prepare to sing 16-32 bars of a song in the style of, or from, the show and a short (less than 30 second) comedic monologue. No accompanist will be provided, plugins for MP3 players/phones and tablets with a standard 2.5 mm or lightning plug (for iPhones) will be provided. We would prefer NO A CAPELLA SINGING! Please find the karaoke or minus track, we want to hear your voice! Headshots and resumes are preferred but not required.


Millie Dillmount
A spunky, modern woman trying to make it in New York City. She falls in love with Jimmy. Our story’s protagonist.
Gender: Female
Age: 20 to 25
Vocal range top: E5
Vocal range bottom: G#3

Jimmy Smith
A suave city slicker who unexpectedly becomes the story’s hero. He falls in love with Millie.
Gender: Male
Age: 20 to 30
Vocal range top: A4
Vocal range bottom: C3

Mrs. Meers
A former actress turned human trafficker pretending to be a kindly chinese woman. She oversees the Hotel Priscilla where she secretly sells her tenants.
Gender: Female
Age: 45 to 55
Vocal range top: Bb4
Vocal range bottom: E3

Miss Dorothy Brown
A naive, wealthy girl who has moved to New York to change her lifestyle. She becomes Millie’s roommate and confidant.
Gender: Female
Age: 20 to 25
Vocal range top: C6
Vocal range bottom: B3

Ching Ho
A Chinese immigrant working to bring his mother to the United States. Younger brother of Bun Foo and henchman to Mrs. Meers. Sings and speaks in chinese.
Gender: Male
Age: 18 to 25
Vocal range top: E4
Vocal range bottom: Bb2

Bun Foo
A Chinese immigrant working to bring his mother to the United States. Older brother of Ching Ho and henchman to Mrs. Meers. Sings and speaks in chinese.
Gender: Male
Age: 20 to 30
Vocal range top: E4
Vocal range bottom: E3

Miss Flannery
An uptight, stern office manager. She runs the stenographer pool at Sincere Trust Insurance Company.
Gender: Female
Age: 35 to 45
Vocal range top: D5
Vocal range bottom: Bb3

Trevor Graydon
An executive at the Sincere Trust Insurance Company. He is sharp, ambitious, and secretly romantic.
Gender: Male
Age: 30 to 40
Vocal range top: G4
Vocal range bottom: A2

Muzzy Van Hossmere
A glamorous actress and singer at a night club. She becomes Millie’s friend and mentor.
It is the authors’ preference that, for thematic reasons, the role of Muzzy be played by an actress of color as an African-American character.
Gender: Female
Age: 35 to 45
Vocal range top: D5
Vocal range bottom: G#3

Moderns; Stenographers; Hotel Priscilla Girls; Muzzy’s Boys, etc.

If you absolutely cannot make the auditions or the callbacks please either message Todd Taylor or email him at and we can make arrangements.

Eugene O’Neill Theater Center: National Playwrights Conference 2018

The deadline to be considered for National Playwrights Conference 2018 was October 13, 2017.

However, they will be holding their National Puppetry Conference 2018 soon! With Pre-Conference Intensives from June 6-8, 2018 and the Main Conference being held June 9-17, 2018.

But for more information about the Eugene O’Neill Theater Center and their summer programs, click here.


Department News 04-30-18

Big Surprise! Sunday morning, April 29, Kyle and Laura Stapley, and their sons, Daken and Benson, welcomed baby boy #3, Holden Alta Stapley, 7 lbs. 2 oz., 19 inches long.  He wasn’t expected for a few more weeks, but Mom and baby Holden are doing very well!  Daken and Benson are so excited, and Kyle is thrilled. Congratulations to the whole Stapley family!

stapley family

George Nelson, his wife Leslie, and seven members of the Divine Comedy cast will be traveling to London this week to attend and conduct comedy workshops from April 28 – May 5. They will be attending the Tabard Theatre, a well-known comedy theatre in London, As You Like it at the Globe, The School of Rock on the West End, as well as clown and physical comedy workshops with Orlando Seale (who starred in the Utah version of Pride and Prejudice).  Cast members who will be attending include Julianne Cook, Aaron Fielding, Alena Helzer, Becca Hurley, Addison Jenkins, Dalton Johnson, and Parker Kelly.

Benjamin Thevenin presented at the Play2Learn conference (focused on educational games) and the International Media Literacy Research Symposium, both in Lisbon, Portugal on April 19 & 20. Both presentations were about a media literacy-themed, conversation-based card and mobile game that he has been developing with a group of Media Arts students this year. Both conferences provided great opportunities to connect with scholars and game designers from around the world and hear about their efforts to promote media literacy and use games to inform and enlighten. Also, Lisbon was beautiful.

Benjamin Thevenin - Lisbon

Becky Wallin, BYU Young Company’s manager, reports that the cast of Romeo y Julieta finished their tour last week.  They took their bilingual English/Spanish production to 20 locations – elementary schools, junior highs, libraries – and performed for about 7,000 children!  The Young Company serves as a training ground for both BYU actors and teaching artists wanting to work in theatre for young audiences.  Below is the awesome cast of Romeo y Julieta with their faithful van “Rhonda,” as well as one of the many thank you notes the group received for their performances.

Student & Alumni News

Jordan Peterson (media arts, 2011) and his wife Karli Hall (BFA Acting 2014) welcomed a baby boy on Friday, April 27, 2018.  Jordon and Karli live in Los Angeles. Congratulations!

Jenna Rasmussen, a current student in media arts, recently received an internship with Dreamworks for the summer.

Jenna Rasmussen.jpg