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March 8 immediately following the show. Meet with members of the artistic staff and cast and gain insight into the author’s work and production process. The audience is encouraged to participate in this open format, and offer their own insight, experiences or questions relating to empowerment. Show dates are March 7 (Student Preview), 8, 9, 15 & 16 at 7:30 pm and March 17 at 2pm. Tickets can be purchased through PLU’s box office at 253-535-7411 or at the door. Tickets are $8 general admission and $5

. PLU’s production will be set on a 1920s movie studio back lot to highlight the screwball comedy inherent in the text. The production’s Director and Chair of Theatre & Dance, Tom Smith, proclaims, “We have a large cast, a crazy set, and fantastic costumes and lighting. We’re supplementing that with foley—live sound effects—and the result is like watching a movie played out live on stage!” Like all of Shakespeare’s comedic plays, a deeper look at the script allows audiences to find important themes

currently performing in Seattle Opera’s production of Verdi’s Il Trovatore; as well as PLU Voice Faculty member Marlette Buchanan, soprano. PLU Faculty member Sheila Bristow, piano, was the competition accompanist.Three winners were announced. Marissa Moultrie, soprano, was awarded first place, receiving $1,000, a trip to the east coast to watch Angela in performance, and a voice coaching/lesson from Ms. Meade. Marissa Moultrie is a senior at PLU, completing her Bachelor of Music in Vocal Performance

great honor for a small school like PLU. MediaLab documentaries have been nominated for student Emmy awards twice before in the past five years. The documentary “Illicit Exchanges: Canada, the U.S. & Crime” went on to win the student Emmy in 2009. Students from universities, colleges and technical/vocational schools in Alaska, Idaho, Oregon, Montana and Washington state are invited to participate in NATAS Northwest chapter’s annual recognition of college student television production. Read Previous

your living room via live stream. Five cast members are in front of a camera but in separate rooms broadcasting live, instead of a pre-recorded production (as has been more common of theatre productions during the pandemic). The dynamics of coordinating a live multi-stream reveals unforeseeable challenges, explains director and theatre professor Jeff Clapp “It looks easy on YouTube, and it ain’t at all,” says Clapp. “Things that you don’t think about. We all know how green screens work, but we

March 8 immediately following the show. Meet with members of the artistic staff and cast and gain insight into the author’s work and production process. The audience is encouraged to participate in this open format, and offer their own insight, experiences or questions relating to empowerment. Show dates are March 7 (Student Preview), 8, 9, 15 & 16 at 7:30 pm and March 17 at 2pm. Tickets can be purchased through PLU’s box office at 253-535-7411 or at the door. Tickets are $8 general admission and $5

. PLU’s production will be set on a 1920s movie studio back lot to highlight the screwball comedy inherent in the text. The production’s Director and Chair of Theatre & Dance, Tom Smith, proclaims, “We have a large cast, a crazy set, and fantastic costumes and lighting. We’re supplementing that with foley—live sound effects—and the result is like watching a movie played out live on stage!” Like all of Shakespeare’s comedic plays, a deeper look at the script allows audiences to find important themes

when I considered not performing or being a part of the arts. What’s a typical day like for you at PLU? Everything has changed now that we have the beautiful Karen Hille Phillips Center for the Performing Arts. I have never worked in such a beautiful facility. When we are in a production, all of us involved have incredibly long days on campus, sometimes 12 – 14 hours long. So, my office needs to be a sanctuary of sorts for me. I start each day doing Fitzmaurice Voicework, for which I am a certified

. “‘Umah Lumba’ means ‘dolphin house’ in Balinese,” Stafki says.  Emma and Annie Stafki travelled to Florida to interview environmental activist Ric O’Barry. PLU and BeyondStafki transferred to PLU after finishing two years of Running Start in high school. “When I visited the campus, I loved how welcoming everyone was,” she says.  Although she loved all of her classes and instructors, she particularly appreciated Marnie Ritchie’s multimedia production class, which launched her documentary. And Amy

when I considered not performing or being a part of the arts. What’s a typical day like for you at PLU? Everything has changed now that we have the beautiful Karen Hille Phillips Center for the Performing Arts. I have never worked in such a beautiful facility. When we are in a production, all of us involved have incredibly long days on campus, sometimes 12 – 14 hours long. So, my office needs to be a sanctuary of sorts for me. I start each day doing Fitzmaurice Voicework, for which I am a certified