Graduate
Handbook
Revised July 9, 2015
2015-2016
Revised July 2015
Graduate
Handbook
1
Revised July 9, 2015
2015-2016 Graduate Handbook
TABLE OF CONTENTS
Quick Contact Reference for Artists-In-Residence
5
Faculty
Performance Faculty
Design and Technology Faculty
Lecturers
Administrative Staff
KC Rep Staff, Production Staff
6
A Brief History of UMKC Theatre by Dr. Felicia Hardison Londré
9
Performance History
11
Kansas City Repertory Theatre (formerly Missouri Repertory Theatre)
27
7
Our Vision
Position Statement
Discrimination Grievance Procedures for Students
Statement of Human Rights
Mandatory Harrassment Training
The Master of Fine Arts Program
The Performance Program
Acting
Performance Student’s Involvement in the Rep
Warm-up & Class Attendance
New York Showcase
Physical Contact Policy
Program of Study pages 1 and 2
The Design Program
Charrettes
Immersive Design
Screenland
Program of Study Design and Technology page 1
Costume Design
POS page 2
Lighting Design
POS page 2
Scenic Design
POS page 2
Sound Design
POS page 2
The Technology Program
POS page 2
The Stage Management Program
POS page 2
29
The Master of Arts Program
Requirements for Admission
Requirement for Graduation
Special Playwriting/Dramaturgy Thesis Option
58
31
32
35
36
38
41
44
47
52
55
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Program of Study
A Listing of Completed Master of Arts Theses
60
62
General Academic Information
64
Final Undergraduate Transcript
Current Contact Information: Theatre, Production, Registration and Records
Advisement and Registration
Add/Drop Procedures
Electing Graduate and Undergraduate Courses
65
Theatre Collaboration 500 RB-RF
Independent Study Courses
Transfer Credit
66
Grading System
Plagiarism
67
Grade Appeal Process
Probation Policy and Procedure
Year One Evaluation
Re-admission Policy
68
Graduation Requirements
Continuous Graduate Enrollment Requirements
Balancing Classroom and Production Responsibilities
69
Policies and Procedures for Production
Acting and Stage Management
Auditions
Duties and Responsibilities of the Actor
Duties of the Stage Manager
Cast Representatives
Guidelines for Rehearsal Periods and Performance
Production Photo Guidelines
Guidelines for Program Biographies
Writing your bio
Submitting your information
Proofing the program
Design and Technical Guidelines
GTA Responsibilities
Design Deadlines
Theatre Collaboration 500 RB-RF
Collaboration Attendance
PAC and GH Scene Shop Tool Protocols
Scenery and Props
Lighting
Costumes
Sound
Keys
Mailboxes
Lockers
Copier – 404 PAC, Roo Prints
Purchasing
70
72
75
76
79
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Missouri tax letter
Kansas tax letter
Travel Vouchers
Required information
Meals
Lodging
Other Expenses
Airfare
Auto-rental
Auto-travel
Conference fees/Registration
Foreign travel
Rehearsal Space
Request for Performance Space - FORM
Drafting and Drawing Space
Class and Production Related Injury
Ticket Policies - Wait List Policy
80
81
85
86
88
89
Campus Services and Information
Helpline
Website
Bookstore
Recycling
Check Cashing
Identification Cards
Counseling, Health and Testing Center
Health Insurance
Financial Aid
FAFSA and Part-time load
Graduate Teaching Assistantships: Duties and Hours
Library Services
Police Department
Emergency Response Guidelines - umkcalert
Vehicle Registration and Parking Permits
Traffic Violations
Missouri Vehicle Licensing
90
University “Where to Go or Call” Guide
Campus Map
Map to 4501 Genessee
95
97
Housing Information
Life in the Midtown-Westport-Plaza-Brookside Communities
98
99
Notes from Chair Tom Mardikes
Going to Kansas City
Getting to Kansas City
Kansas City: A Downtown Renaissance
UMKC: “To Lead in the Performing Arts”
115
94
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Thanks to current and former MFA students for their assistance in compiling this handbook: Joe
Beck, Katie Gilchrist, Regan Glover, Jenn Miller-Cribbs, Adam D. Wasserman, Samuel T.
Gaines, Nick Gehlfuss, Grant Prewitt, Renee Caldwell, undergraduate Dwayne Merrick.
Quick Contact Reference for Artists-In-Residence
Tom Mardikes, Chair
mardikest@umkc.edu
816-235-2784
Sadie DeSantis, Production Manager
Production schedule, schedule for visits
desantiss@umkc.edu
816-235-2783
Production Office/Stage Managers
Contact sheets, rehearsal schedules
115 PAC
816-235-2782
Cindy Stofiel, Academic Advisor
stofielc@umkc.edu
Handbook, student advising, financial aid
816-235-6683
Sharon Pflughaupt, Accounts payable
Processes agreements and checks;
arranges travel, car rental, lodging,
hold checks, keys, copy codes.
816-235-6686
pflughaupts@umkc.edu
Student Ambassadors
Danny Fleming, assisted by Chioma Anyanwu, Megan Sells, Ken Sandberg, Charlie Spillers
Guest director/playwright MAILBOX is located in 404 PAC.
Extended Stay America on the Plaza
4535 Main KCMO 64111
816-531-2212
Best Western Plus Seville Plaza Hotel
4309 Main KCMO 64111
800-230-4134
Pech Car Service
816-756-3100
Enterprise Car Rental
3543 Main Street
816-931-1208
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Faculty, Administrative and Production Staff
Campus numbers are 816-235-xxxx.
Faculty and staff e-mail addresses are generally lastnamefirstinitial@umkc.edu
The website is www.umkctheatre.org
Mailboxes are in PAC 404
CHAIR, UMKC Theatre
Tom Mardikes (Professor) is the chair of the Theatre Department and head of the sound design
program. 5319 Holmes, 1st Floor, x2784, mardikest@umkc.edu
MASTER OF ARTS PROGRAM
Dr. Felicia Londré (Curators’ Professor of Theatre) teaches theatre history and dramaturgy. She
heads the MA program. PAC 408/409, x 2781, Londref@umkc.edu
PERFORMANCE FACULTY
Scott Stackhouse (Assistant Professor) teaches voice and coaches UMKC Theatre productions.
GH 103, x2771
Carla Noack (Assistant Professor of Acting) teaches acting. GH 102, x2858,
noackca@umkc.edu
Stephanie Roberts (Assistant Professor) teaches commedia dell’arte, mask and acting. GH 311,
x2268, robertssr@umkc.edu
Theodore Swetz (Patricia McIlrath Endowed Professor of Theatre Arts, Acting) is head of
acting. GH 309, x 5207, swetzth@umkc.edu
Traci Terstriep (Adjunct) teaches movement, TerstriepHerberT@umkc.edu
Tim Noble (Adjunct) teaches acting and beginning directing, GH 109
Dr. Jennifer Martin (Hall Family Foundation Professor of Theatre Emerita) martinj@umkc.edu
DESIGN AND TECHNOLOGY FACULTY
Lindsay W. Davis (Associate Professor) is head of Costume Design. He teaches costume design
and cutting and draping. Genessee St location, 816-569-2864, davislin@umkc.edu
Sarah M. Oliver is Visiting Assistant Professor of Costume Technology, Genessee St location,
816-569-2864,
John Ezell is the head of the Scenic Design Program and Hall Family Foundation Professor of
Theatre. GH 308, x2773, ezelljd@umkc.edu
Gene Friedman (Associate Professor) teaches history of design and technology, scenic design
and rendering. GH 308, x2773, friedmang@umkc.edu.
Chuck Hayes (Teaching Professor) is the head of Theatre Technology. PAC 430, x2772,
hayesc@umkc.edu
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Chaz Bell (Teaching Assistant Professor of Technical Theatre). PAC 426. BellCE@ umkc.edu.
Greg Mackender (Teaching Assistant Professor of Theatre Sound) teaches hard disc recording
and sound scoring/music creation. Mailbox in 404 PAC. gvmackender@yahoo.com.
Tom Mardikes (Professor) is also the head of the Sound Design Program. 5319 Holmes, 1st
Floor. x2784, mardikest@umkc.edu.
Sadie DeSantis (Teaching Professor) teaches stage management and is the production manager
for UMKC Theatre. PAC 121, x2783, schaefferr@umkc.edu.
Victor En Yu Tan (Associate Professor) is the head of the Lighting Design program. GH 107,
x2767, tanv@umkc.edu
LECTURERS
Danny Baker teaches theatre management. bakerdani@umkc.edu
Alice Bracken-Carroll teaches scene painting. x2709
John Davis Carroll teaches life drawing in conjunction with Rendering Techniques for Theatre
Design. johndaviscarroll@sbcglobal.net
Jeff Church teaches text analysis. jchurch@coterietheatre.org
Katie Danner teaches computer painting. dannerkm@umkc.edu
Anthony Edwards teaches MFA vocal performance.
Dwight Frizzell teaches Audio Art I and II. dfrizzell@kcai.edu
Frank Higgins teaches Playwriting I and II. higginsf@umkc.edu
Tracy Herber-Terstriep teaches period styles & ballroom dance. HerberTerstriepT@umkc.edu
Administrative Staff – UMKC Theatre
Cynthia (Cindy) Puppel Stofiel is the Academic Advisor. PAC 120, x6683, stofielc@umkc.edu
Sharon Pflughaupt is human resources and payroll manager for UMKC Theatre; processes
accounts payable for UMKC Theatre and makes travel arrangements as requested by the Chair.
PAC 118, x6686, pflughaupts@umkc.edu 5319 Holmes, 1st floor.
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Artistic Staff – KC Rep
Eric Rosen, Artistic Director, x2777, rosene@kcrep.org, 404 PAC
Jason Chanos, Associate Artistic Director, x6487, chanosj@kcrep.org, 404 PAC
Jerry Genochio, Producing Director. x2775, genochioj@kcrep.org, 404 PAC
Administrative Staff – KC Rep
Angela Gieras, Executive Director, x6167,
gierasa@kcrep.org
Stacy Myers, Company Manager, x6088, @kcrep.org
Melinda McCrary, KC Rep Director of Education and Community Programs. 4825 Troost,
Suite 101, x5708, mccrarym@kcrep.org
Kelly Cooper, PAC Building Manager and House Manager. x2780, cooperk@umkc.edu
Sandra Rodriguez, Volunteer Coordinator. x2780, rodriguez@umkc.edu
Production Staff
Alice Bracken-Carroll, Charge Scenic Artist for UMKC Theatre and The Rep. She teaches
scenic painting. PAC 321, x2698
Michelle Harvey, Master Electrician for The Rep PAC 532, x2785
Thomas Gault, Assistant Technical Director for The Rep PAC 428, x2897
Michele Richmond, Head Cutter/Draper for The Rep costume shop PAC 421, x2710
Michael Schall, Properties Master for UMKC and The Rep PAC 321, x2709
Patrick Farmer, Materials Coordinator for UMKC and The Rep scene shop PAC 320B, x2703
Bill Shinoski, Technical Director for The Rep PAC 427, x2673
TBD, Sound Engineer for The Rep x2969
Gayla Voss, Costume Shop Foreman for The Rep PAC 421, x2710
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A Brief History of UMKC Theatre
by Dr. Felicia Hardison Londré
UMKC Theatre continues to build upon a rich tradition of mutually supportive academic,
professional, and community collaboration that was developed under the leadership of Dr.
Patricia A. McIlrath (1917-1999).
"Dr. Mac" was not only the first chair of our department as a separate entity (beginning in
1954) apart from the English Department, but she also led a trailblazing crusade to bring
professional theatre training to the university. Years of tireless dedication to that cause
culminated in her founding of Missouri Repertory Theatre (originally UMKC Summer Repertory
Theatre) in 1964. Always her vision was to maintain an "organic relationship" between academic
and professional theatre on campus, an ideal that involved the sharing of production facilities as
exemplified by UMKC's Performing Arts Center, which opened in 1979. Among her many
national and international honors, Patricia McIlrath became the first recipient of the Career
Achievement Award of the Association for Theatre in Higher Education.
Those of the present UMKC Theatre faculty who were lucky enough to have worked with
our beloved Dr. Mac will never forget her beautiful example of dedication to theatre and
humanity. She saw the potential and brought out the best in every person she encountered. She
encouraged each student, professor, and staff member to be open to the widest spectrum of ideas
and skills while developing one's individual strengths. Beneath her gentle, ladylike demeanor
there was a steel backbone, Irish toughness, and hard-wired set of principles. Patricia McIlrath's
legacy, a Department of Theatre nationally recognized for its professional training program and
its association with Kansas City's flagship professional theatre company, is the product of long
years of obstacles encountered and overcome. Indeed, triumph over setbacks constitutes a major
element in "the Kansas City spirit." This is the spirit that saw the city's burned-down Convention
Hall rebuilt in 90 days to host the 1900 Democratic National Convention. This is the spirit that
rebuilt great swaths of urban landscape after the devastating floods of 1951 and 1976. This is the
spirit that saw the opening of three major educational and cultural entities during the very depths
of the Depression: the University of Kansas City and the Nelson Gallery of Art-Atkins Museum,
both in 1933, and the Municipal Auditorium in 1935.
The University of Kansas City had been in existence less than a year when the
English Department began sponsoring the production of plays in association with community
groups in various off-campus venues. The University Players of UKC gradually expanded their
offerings. In 1948 Dr. John Newfield, a professional director of theatre and opera in New York
and Europe, was hired to direct the new University Playhouse, a building acquired from a
deactivated US Air Force base and placed on campus over a newly constructed basement shop. A
patio, outdoor fireplace, and two large ceramic masques that functioned as chimneys were soon
added to the landscape. For the Playhouse's inaugural production, Blevins Davis was hired to
direct Maxwell Anderson's Elizabeth the Queen, starring the noted actress Jane Cowl. Another
renowned actor, Clarence Derwent, was brought in for The Merchant of Venice, a production that
received national coverage in 1950. The Playhouse remained in use for both campus-community
and (after 1964) professional productions until it was condemned as unsafe in 1976.
Dr. Newfield left UKC in 1952, but 1953 saw the arrival of Susan Dinges who would
achieve national prominence in the field of children's theatre and creative dramatics. She
founded the Ivory Tower Players in 1960 and directed it on campus until her retirement in 1990;
she held the record for the longest continuous faculty appointment in the department until Felicia
Londré passed it in 2009. With the 1954 hiring of Patricia McIlrath as Director of University
Playhouse, a Department of Speech was created. The new department chaired by Dr. McIlrath
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included programs in radio-television and a studio theatre program for experimental productions.
After her 1960-61 sabbatical in Europe, Dr Mac expanded the practice of bringing in guest
professional artists, including international directors, to work with students on academic
productions. Vincent Scassellati joined the department as full-time costumer in 1962. The superb
designs of this excellent teacher and master draper graced the stage in hundreds of academic and
professional productions until his retirement in 2000.
In 1964 the private University of Kansas City became a state institution, the University of
Missouri-Kansas City. At that time the Speech department was renamed Department of Speech
and Theatre. The following summer saw the tentative beginnings of a professional repertory
theatre with two productions. Rod Alexander guest directed for the second season of Summer
Repertory Theatre and also directed James Costin's Lee as an academic production. James Costin
was a student who would eventually cap his career in the powerful position of UMKC's Vice
Chancellor for Cultural Events. To him we are indebted for getting the Hall Family Foundation
support that funded two of our professorships, both still held by their original appointees, who
also work professionally with The Rep and other theatres nationwide: John Ezell in scene design
and Jennifer Martin in movement and choreography.
After a season as artist-in-residence, Robin Humphrey (1922-1998) joined the theatre
faculty in 1967. This spirited actress, who had worked on Broadway with Gertrude Lawrence
and Julie Harris and who quickly won the hearts of Kansas City audiences, directed and acted for
the department and Missouri Repertory Theatre until her retirement in 1986. The MRT Vanguard
Tour, taking professional theatre to towns all over Missouri, began operations in 1968. Robin
Humphrey acted in and directed touring productions alongside such eminent actors as Harriett
Levitt, Art Ellison, Robert Elliott, and James Assad.
Theatre became a separate department in 1972, while speech and radio-television were
moved to a new Department of Communication Studies. The Department of Theatre faculty was
enhanced by the hiring of Joseph Appelt to teach lighting design and by the creation of two
rotating professorships that allowed us to bring distinguished professional theatre artists to
campus for one-semester appointments that combined teaching classes with directing, designing,
or acting in both the academic and professional production programs. The first Distinguished
Visiting Professor of Professional Theatre was Vincent Dowling of Dublin's Abbey Theatre, who
directed an academic production of Sean O'Casey's The Shadow of a Gunman. The following
season brought Alan Schneider. Director Francis Cullinan became a full-time faculty member in
1974, frequently directing for the department, MRT, the Coterie, and Lyric Opera until his
retirement in 1989.
During the hiatus between the 1976 closing of the Playhouse and the 1979 inauguration
of the long-planned Performing Arts Center, the Department of Theatre moved its offices and
production activities to J. C. Nichols School at 69th and Oak Street, while MRT presented its
six-play season at the old Jewish Community Center on Holmes. Two new faculty hirings in
1978 continued the tradition of combining academic and professional work: Douglas Taylor as
technical director and Felicia Hardison Londré as dramaturg for Missouri Repertory Theatre.
Ron Schaeffer joined us in 1979 to teach stage management and serve as production manager for
MRT. Harry Feiner taught scene design here from 1980 to 1985.
In 1981 the UMKC Department of Theatre was granted authority to offer the only MFA
degrees in theatre in the state of Missouri. It had long been said that the MA in theatre from
UMKC was the equivalent of the MFA at professional theatre training schools elsewhere; now,
thanks to years of effort by Patricia McIlrath, Robin Humphrey, and James Costin, the degree
matched the reality. The two new MFA degrees were in Acting/Directing and
Design/Technology. The MA degree was then reconceived for a more academically-focused
program of study. Two new faculty positions were created and filled by Albert Pertalion as head
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of the MFA acting program and Bonnie Raphael for voice and movement. Also in 1981 guest
director Louis Fantasia gave us a memorable production of Goldoni's Trouble in Chioggia.
The academic production with the greatest international resonance in the history of the
department came in 1982 when the renowned Chinese actor-director and vice-minister of culture
Ying Ruocheng served as visiting professor and directed The Family by Cao Yu. Professor Ying
gave the students a crash course in Chinese culture and worked with them on ritual gestures like
kowtowing and calligraphy brush-handling. The result was a superbly nuanced production that
was seen by millions when shown on Chinese television. Overnight the names of UMKC student
actors were known to taxi drivers and food vendors from Beijing to small villages; many Chinese
spoke of their appreciation for the care taken by the "big-nose actors" in their recreation of
Chinese manners. Ying returned to UMKC in 1984 to direct Fifteen Strings of Cash for MRT.
His son, Ying Da (Dan Ying), earned his MFA in acting/directing at UMKC in 1987 and became
a prominent film actor (Farewell My Concubine) and television director.
It was often noted that when Patricia McIlrath retired it took two men to replace her. The
chairmanship of the department was taken by Dr. Jacques Burdick in 1984 and the artistic
directorship of MRT by George Keathley in 1985. Other faculty hirings of the 1980s and 1990s
included Peter Sander to teach acting, Toni Dorfman for undergraduate performance courses,
Ewa Wielgat for voice coaching, Dennis Rosa for acting and directing for the camera (and who
also directed MRT's very successful production of Dracula), David Jacques followed by Rob
Murphy for lighting design, Theodore Swetz in acting, Victoria Marshall in costuming and
rendering, Chuck Hayes in technical theatre, Tom Mardikes in sound design, Louis Colaianni for
voice and speech, Victor En Yu Tan for lighting design, Gene Friendman for drafting and history
of design and technology, and Joseph Price for undergraduate performance. With Dale AJ Rose's
appointment to head the MFA Performance Training program in 1988 the department reached
new heights of national recognition as tallied in biannual surveys by U.S. News and World
Report. After Burdick's retirement in 1989, the chairmanship of the department was held in turn
by Joseph Appelt, Jennifer Martin, Neil Bull, Cal Pritner, and again Neil Bull.
UMKC Theatre’s partnership with Dell’Arte International School of Physical Theatre of
Blue Lake, California, brought Joe Krienke and Stephanie Thompson to the faculty to teach
mask and clown techniques. Though they have moved back there to head that company, our
liaison with the School continues to be a strength. The department also benefits from its close
cooperation with Jeff Church and the Kansas City’s Coterie, which was named by Time
magazine as one of the five best children’s theatres in the United States.
After a year of Visiting Professor status in 2001-2002, Gary Holcombe (Styles Acting),
Gene Friedman (Scenic Design) and Lindsay W. Davis (Award-winning costumer) joined the
ranks of tenure-track faculty. Holcombe retired in 2009, and Carla Noack joined the faculty as
Assistant Professor of Acting in 2010. She quickly showed her wares in a stunning performance
as Queen Elizabeth in Heart of America Shakespeare Festival’s Richard III. Sarah M. Oliver,
long a resourceful mainstay of the costume shop, advanced to the position of Visiting Assistant
Professor of Costume Technology. Nationally-produced playwright Frank Higgins now teaches
the playwriting courses that are offered every semester. His play Black Pearl Sings was one of
the top ten most produced plays in TCG theatres for the 2009-10 season.
Barry Kyle, Honorary Associate Director of the Royal Shakespeare Company and Founding
Artistic Director of Swine Palace Productions in Louisiana as well as the first Artistic Director of
Stratford's Swan Theatre, led two charrettes and joined the faculty in 2003 as Professor of
Theatre Arts. He has since directed Henry V, Good, A Maids’ Tragedy, Black Snow, Three
Sisters, The Cure at Troy, The Master and Margarita, Oh What a Lovely War, and the world
premiere of Ron Hutchison’s ShootHorses. Theodore Swetz, master acting teacher, returned to
UMKC Theatre in Winter 2006 to head the performance faculty. After conducting a charrette for
our designers in 2004 and directing the first scholarship benefit production of The Darker Face
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of the Earth in 2005, Ricardo Khan came to grace our faculty in 2006-2007. He led a team of
faculty and students in researching and creating the world premiere of Quindaro, based upon the
local history of a Missouri River town that offered refuge for escaped slaves. Erika Bailey taught
voice and speech, and did the voice coaching for the Broadway production of Mary Stuart in
2009, before leaving to take a position with Haravrd University in 2014. Stephanie Roberts
teaches mask and clown physical theatre and, for a time, ran her own company Boom! An
International Lost-and-Found Marching Band. In 2010 Stephanie’s creative innovations earned
her a Charlotte Street Foundation Generative Performing Arts Fellowship award. Scott
Stackhouse (BA alum) and Chaz Bell (MFA alum) joined the faculty in the fall of 2011, teaching
acting and directing, and technical direction, respectively.
In 2001, after a national search, Tom Mardikes was unanimously chosen by the theatre
faculty to head the UMKC Department of Theatre as we move into a new era of opportunity for
achieving pre-eminence in university-level professional theatre training. Our graduates have
gone on to act, design, and stage manage for leading professional theatres all over the country as
well as for film and television. Much of the talent has also enriched the Kansas City theatre
scene, continuing Patricia McIlrath's vision of cooperation and mutual support among artists of
the greater Kansas City theatre community. Although the name of Missouri Repertory Theatre
was changed to Kansas City Repertory Theatre in October 2004, her spirit continues to infuse
professional theatre here. It was her inspiration and devotion to theatre as a necessary art form
that inspired the founding of other theatre companies, including the Unicorn, the Coterie, the
New Theatre (Dinner Playhouses, Inc.), Gorilla Theatre, American Heartland Theatre, Heart of
America Shakespeare Festival, Starlight Theatre, Martin City Melodrama, Kansas City Actors
Theatre and others. We welcome all our new and continuing students who are joining us in our
tradition of greatness in theatre in the heart of America.
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Performance History
Compiled by Raymond R. Gould and Jan Waller
Before the l989-90 season only individual programs were printed; most did not indicate the year of the production,
although there were season brochures for l979-80, l981-82.
Some of the titles, in no particular order, were:
HAY FEVER by Noel Coward, THE TROJAN WOMEN by Euripides (1970), WAITING FOR GODOT by Samuel
Beckett (approximately l983). TROUBLE IN CHIOGGIA by Carlo Goldoni (l982?), THE LADY’S NOT FOR
BURNING by Christopher Fry (l980?), THE FAMILY by Cao Yu, AS YOU LIKE IT by Shakespeare (before
l979), YERMA by Federico Garcia Lorca, A LOVELY SUNDAY FOR CREVE COEUR by Tennessee Williams
(before l979), THE MERCHANT OF VENICE by Shakespeare (mid-l980’s), THE TROJAN WOMEN by
Euripides, OUR TOWN by Thornton Wilder (l981), LU ANN HAMPTON LAVERTY OBERLANDER by Preston
Jones (l983?), HEDDA GABLER by Henrik Ibsen (l982-3?), DIVISION STREET by Steve Tesich (l982-3?),
ANOTHER PART OF THE FOREST by Lillian Hellman (l982-3?), SEXUAL PERVERSITY IN CHICAGO by
Mamet (l984), THE PHILANTHROPIST by Hampton (l984), TARTUFFE (l984), WOYZECK by Georg Buchner
(l985?), LIVING TOGETHER by Alan Ayckbourn (l986?), THE ROGUE’S TRIAL by Ariano Suassuna (l986?),
ACCIDENTAL DEATH OF AN ANARCHIST by Dario Fo (early to mid-l980’s), THE RUNNER STUMBLES by
Milan Stitt (l985?), THE FIREBUGS by Max Frisch (mid-l980’s), THE SHADOW OF A GUNMAN, by Sean
O’Casey (mid-l980’s), A MIDSUMMER NIGHT’S DREAM by Shakespeare (mid-l980’s), UNDER THE
GASLIGHT by Augustin Daly (mid-l980’s), THE DUCHESS OF MALFI by John Webster (mid-l980’s), THE
BIRTHDAY PARTY by Harold Pinter (mid-l980’s), HEKABE by Euripides (app. l985), THE COUNTRY WIFE
by William Wycherley (l985), THE FATHER by August Strindberg l984?), AESCHYLUS: THE HOUSE OF
ATREUS by John Lewin (l985?).
l989-90:
AGNES OF GOD by John Pielmeier
TWELFTH NIGHT by Shakespeare and TONIGHT AT 8:30 by Noel Coward
--in repertory
ZASTROZZI by George F. Walker
THE BAKKHAI by Euripides
THE BIG KNIFE by Clifford Odets
INDEPENDENCE by Lee Blessing
TBA in Spencer
l990-91:
THE CRUCIBLE by Arthur Miller
THE COMEDY OF ERRORS and THE MARRIAGE OF BETTE AND BOO
--in repertory
WHAT THE BUTLER SAW
OLD TIMES
VINEGAR TOM
THE MISANTHROPE
THE ROVER
1991-92:
THE HOSTAGE by Brendan Behan
MACBETH and OUR COUNTRY’S GOOD by Timberlake Wetenbaker
--in repertory
THE SECRET RAPTURE
TIS PITY SHE’S A WHORE
GOING DOWN TO MARRAKECH
THE INSPECTOR GENERAL by Gogol
1992-93:
A DOLL HOUSE by Henrik Ibsen
THE WINTER’S TALE by Shakespeare and ROOM SERVICE by John Murray and
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Allen Boretz -- in repertory
STREAMERS by David Rabe
THE RELAPSE by Sir John Vanbrugh
Three contemporary plays:
L’AMANTE ANGLAISE by Marguerite Duras,
MY CHILDREN, MY AFRICA by Athol Fugard and
IN THE BELLY OF THE BEAST by Jack Henry Abbott
BURIED CHILD by Sam Shepard
THE CAUCASIAN CHALK CIRCLE by Bertolt Brecht
l993-94:
TRANSLATIONS by Brian Friel
MARY STUART by Friedrich Schiller and SEARCH AND DESTROY by Howard
Korder -- in repertory
SMALL CRAFT WARNINGS by Tennessee Williams
THE SCHOOL FOR SCANDAL by Richard B. Sheridan
BETRAYAL by Harold Pinter
LOVE’S LABOUR’S LOST by William Shakespeare
l994-95:
THE NORMAL HEART by Larry Kramer
MISALLIANCE by George Bernard Shaw and THE TAMING OF THE SHREW by
Shakespeare -- in repertory
IN PERTETUITY THROUGHOUT THE UNIVERSE by Eric Overmyer
THE CHANGELING by Thomas Middleton and William Rowley
SPEED THE PLOW by David Mamet
THE RESISTABLE RISE OF ARTURO UI by Bertolt Brecht
l995-96:
FIFTH OF JULY by Lanford Wilson
RECKLESS by Craig Lucas and TWO GENTLEMEN OF VERONA by Shakespeare
--in repertory
THE COMMON PURSUIT by Simon Gray
TARTUFFE by Moliére
WAITING FOR GODOT by Samuel Beckett
THREE SISTERS by Anton Chekhov
1996-97:
THE COMMUNICATION CORD, by Brian Friel
ARCADIA by Tom Stoppard and DIARY OF A SCOUNDRAL by Alexander Ostrovsky
--in repertory
THE HOLY GHOST by Romulus Linney
THE BEAUX’ STRATEGM by Farquhar
LIE OF THE MIND by Sam Shepard
TWELFTH NIGHT by William Shakespeare
l997-98:
BLOOD KNOT by Athol Fugard
HAPPY END by Bertolt Brecht and Kurt Weill and AN ABSOLUTE TURKEY by
Georges Feydeau --in repertory
DOES A TIGER WEAR A NECKTIE? by Don Petersen
SERVANT OF TWO MASTERS by Goldoni
BLOODY POETRY by Howard Brenton
RICHARD III by William Shakespeare
1998-99:
SLAB BOYS, by John Byrne
THE LUSTY AND COMICAL HISTORY OF TOM JONES, adapted from the Fielding novel by John Morrison
and TITUS ADRONICUS by William Shakespeare
--in repertory
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Revised July 9, 2015
THE PAINTER OF DISHONOUR by Calderon
ELECTRA by Euriipides
DURANG DURANG by Christopher Durang
RED NOSES by Peter Barnes
l999-2000:
BOSEMAN AND LENA by Athol Fugard
AS YOU LIKE IT by Shakespeare and MERRILY WE ROLL ALONG Sondheim and
Furth --in repertory
LA RONDE by Arthur Schnitzler
THE MISER by Moliére
THE ELEPHANT MAN by Bernard Pomerance
THE SEA by Edward Bond
Complied by Cynthia Puppel Stofiel
2000-2001:
ECSTASY by Mike Leigh
directed by Dale AJ Rose
9/27-10/01/00
Grant Hall Theatre, UMKC
AN ENEMY OF THE PEOPLE by Henrik Ibsen
translated by Brian Johnston and Rick Davis
directed by Theodore Swetz
11/3-5 - 11/18/2000
Studio 116, UMKC Performing Acts Center
A MIDSUMMER NIGHT’S DREAM by William Shakespeare
directed by Jael Weisman
11/15- 11/18 /2000
Spencer Theatre, UMKC Performing Arts Center
MAD FOREST by Caryl Churchill
directed by Joseph Price
12/5-10/2000
Studio 116, UMKC Performing Arts Center
OFF TO THE COUNTRY by Carlo Goldoni
translated by Anthony Oldcorn
directed by Stefan Golux
2/14-18/2001
Grant Hall Theatre, UMKC
THREE DAYS OF RAIN by Richard Greenberg
directed by Ron Schaeffer
3/28-4/1/2001
Studio 116, UMKC Performing Arts Center
THE GRAPES OF WRATH adapted for the stage by Frank Galati, from John Steinbeck’s Pulitzer Prize-winning
novel.
directed by Risa Brainin
4/12-15/2001
Spencer Theatre, UMKC Performing Arts Center
2001-2002
THIN AIR: TALES FROM A REVOLUTION by Lynne Alvarez
directed by Elaine Vaan Hogue
9/26-9/30/2001 Studio 116, UMKC Performing Arts Center
ANOTHER PART OF THE FOREST by Lillian Hellman
directed by Joseph Price
10/3-10/7/2002 Grant Hall Theatre, UMKC
ANYTHING TO DECLARE? by Maurice Hennequin and Pierre Veber
Translated by Laurence Senelick
directed by Sari Ketter
11/13-11/17/2002 Spencer Theatre, UMKC Performing Arts Center
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Revised July 9, 2015
MOONCHILDREN by Michael Weller
directed by Ron Schaeffer
12/5-12/9/2002 Studio 116, UMKC Performing Arts Center
LE CID by Corneille
directed by Miles Potter
2/13-2/17/2002 Grant Hall Theatre, UMKC
MY MOTHER SAID I NEVER SHOULD by Charlotte Keatley
directed by Cynthia Levin
3/27-3/31/2002 Studio 116, UMKC Performing Arts Center
HAMLET, PRINCE OF DENMARK by William Shakespeare
directed by Dale A.J. Rose
4/10-4/14/2002 Spencer Theatre, UMKC Performing Arts Center
2002-2003:
POLAROID STORIES by Naomi Iizuka
directed by Joseph Price
9/25-10/6/2002 Studio 116, UMKC Performing Arts Center
THE MISANTHROPE by Molière
translated by Richard Wilbur
directed by Art Manke
10/9-10/13/2002 Spencer Theatre, UMKC Performing Arts Center
ANTIGONE by Bertolt Brecht
translated by Judith Malina
directed by Dale AJ Rose
10/30-11/3/2003 Grant Hall Theatre, UMKC
LEAVES FROM THE GREAT BHARATA written and directed by Dennis Rosa
directed by Dennis Rosa
12/4-12/15/2002 Studio 116, UMKC Performing Arts Center
HOT L BALTIMORE by Lanford Wilson
directed by Ron Schaeffer
2/12-2/22/2003 Grant Hall Theatre, UMKC
TRUST by Steven Dietz--Undergraduate Production
directed by Kara Armstrong
2/28-3/2/2003
Studio 116, UMKC Performing Arts Center
DANCING AT LUGHNASA by Brian Friel
directed by Ina Marlowe
3/27-4/6/2003
Studio 116, UMKC Performing Arts Center
MACBETH by William Shakespeare
directed by Paul Mullins
4/9-4/13/2003
Spencer Theatre, UMKC Performing Arts Center
2003-2004:
TAKING SIDES by Ronald Harwood
directed by Ron Schaeffer
9/25-10/9/2003 Studio 116, UMKC Performing Arts Center
PLAYING DOCTOR
A Farce by Georges Feydeau
directed by Ina Marlowe
10/8-12/2003
Spencer Theatre, UMKC Performing Arts Center
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Revised July 9, 2015
TALKING WITH by Jane Martin—Undergraduate Production
directed by Denise Hastings
10/29-11/2/03
Grant Hall Theatre, UMKC
ANGEL STREET- A Victorian Thriller by Patrick Hamilton
directed by Susan Gregg
11/6-23/2003
H&R Block City Stage Theatre in Union Station, Kansas City
MERRY WIVES OF WINDSOR by William Shakespeare
directed by Sari Ketter
12/4-31/2003
H&R Block City Stage Theatre in Union Station, Kansas City
THE ILLUSION by Pierrre Corneille, adapted by Tony Kushner
directed by Risa Brainin
2/12-29/2004
H&R Block City Stage Theatre in Union Station, Kansas City
SUBURBIA by Eric Bogosian—Undergraduate Production
directed by Kara Armstrong
2/19-29/2004
Grant Hall Theatre, UMKC
CRUMBS FROM THE TABLE OF JOY by Lynn Nottage
directed by Shirley Jo Finney
3/25-4/4/2004
Studio 116, Performing Arts Center
HENRY V by William Shakespeare
directed by Barry Kyle
4/8 -18/2004
Spencer Theatre, Performing Arts Center
Complied by Kristi (McKee) Lewczenko
2004-2005:
BURN THIS by Lanford Wilson
directed by Mark Robbins
9/24-10/2004
Grant Hall Theatre, UMKC
GOOD by C.P.Taylor
directed by Barry Kyle
10/8-10/24/2004
Studio 116, UMKC Performing Arts Center
FIFTEEN MINUTE WINDOW conceived and directed by Barry Kyle
10/15, 10/22, 10/29/2004 Retail Theatre, Jenkins Music Space, Downtown KC
HOUSE OF YES by Cynthia McCleod—Undergraduate Production
directed by Kara Armstrong
10/27-31/2004
Grant Hall Theater, UMKC
PICASSO AT THE LAPIN AGILE by Steve Martin
directed by David Colacci
11/5-14/2004
Spencer Theater, UMKC Performing Arts Center
THE CIRCUS SHOW UMKC Theatre Festival of N.O.W (New Original Work) crafted by the company of student
actors and designers, the Mask/Clown faculty and the director
directed by Joseph Price
12/3-17/2004
Studio 116, UMKC Performing Arts
17
Revised July 9, 2015
SCHOOL FOR HUSBANDS
and SGANARELLE, THE IMAGINARY CUCKOLD by Molière
directed by Douglas Mercer
1/28-2/12/2004 H & R Block City Stage Theatre at Union Station, Kansas City
RECKLESS by Craig Lucas- Undergraduate Production
directed by Ron Schaeffer
2/25 -3/12/2004 H&R Block City Stage Theatre in Union Station, Kansas City
SMOKING KILLS UMKC Theatre Festival of N.O.W (New Original Work)
by Dominic Leggett
directed by Rosemary Andress
3/18-4/10/2004
Studio 116, UMKC Performing Arts Center
MEASURE FOR MEASURE by William Shakespeare
directed by Kathleen Powers
4/8-17/2004
Spencer Theater, UMKC Performing Arts Center
2005-2006
THE IMPORTANCE OF BEING EARNEST by Oscar Wilde
directed by Joseph Price
9/29 -10/2/2005 Studio 116, UMKC Performing Arts Center
OUR TOWN by Thornton Wilder (Undergraduate Production)
directed by Gary Holcombe
10/26 – 10/30/2005
Grant Hall Theatre, UMKC
THE DARKER FACE OF THE EARTH* by Rita Dove
directed by Ricardo Khan
11/5-13/2005
Spencer Theatre, UMKC Performing Arts Center
*Special Benefit Reception Nov 10
THE MAIDS’ TRAGEDY by Francis Beaumont & John Fletcher
directed by Barry Kyle
12/3 -11/2005
Studio 116, UMKC Performing Arts Center
THE TRIAL by Franz Kafka
Adapted & Directed by Ken Albers
2/2 – 18/2006
H&R Block City Stage Theatre in Union Station, Kansas City
AMERICAN CLOCK by Arthur Miller (Undergraduate Production)
directed by Ron Schaeffer
2/24 – 3/2/2006 Grant Hall Theatre, UMKC
TAPE by Richard Belbar
directed by Joseph Price
3/17 – 4/2/2006 Studio 116, UMKC Performing Arts Center
BLACK SNOW by Keith Dewhurst
Adapted from the novel by Mikhail Bulgakov
directed by Barry Kyle
4/7 – 16/2006
Spencer Theatre, UMKC Performing Arts Center
RETAIL THEATRE, UMKC Theatre Festival of N.O.W.
directed by Joe Krienke
4/21/2006
18
Revised July 9, 2015
2006-2007
CLOUD 9 by Caryl Churchill
directed by Mark Robbins
9/16-10/1/2006 Studio 116, UMKC Performing Arts Center
THREE SISTERS* by Anton Chekhov
directed by Barry Kyle
11/4-11/12/2006 Spencer Theatre, UMKC Performing Arts Center
*Special Benefit Reception Nov 9
BOESMAN AND LENA by Athol Fugard
directed by Joseph Price
11/25-12/10/2006 Studio 116, UMKC Performing Arts Center
THE TROJAN WOMEN by Euripides (Undergraduate Production)
directed by Ron Schaeffer
2/21-2/25/2007 Grant Hall Theatre, UMKC
THE SECRET LIVES OF LOSERS (New Original Work) by Meghan Mostyn-Brown
directed by Meredith McDonough
4/10-4/24-2007 Union Station Theatre, at Union Station
PRESENT LAUGHTER by Noel Coward
directed by Joe Price
3/24-4/7/2007
Studio 116, UMKC Performing Arts Center
TWELFTH NIGHT by William Shakespeare
directed by Theodore Swetz
4/14-4/22/2007
2007-2008
NOISES OFF* by Michael Frayn
directed by John Rensenhouse
9/29-10/7/2007 Spencer Theatre, UMKC Performing Arts Center
*Special Benefit Reception Oct 6
THE LIEUTENANT OF INISHMORE by Martin McDonagh
(co-production with the Unicorn Theatre)
directed by Joseph Price
10/17-11/11/2007 Unicorn Theatre, Main Street
ALL IN THE TIMING by David Ives (Undergraduate Production)
directed by Gary Holcombe
10/24-10/28/2007 Grant Hall Theatre, UMKC Campus
GOODNIGHT CHILDREN EVERYWHERE by Richard Nelson
directed by Ron Schaeffer
11/30-12/9/2007 Studio 116, UMKC Performing Arts Center
QUINDARO by Kathleen McGhee-Anderson
directed by Ricardo Khan
2/9-2/24/2008
Union Station Theatre, at Union Station
THE MOST FABULOUS STORY EVER TOLD by Paul Rudnick (Undergraduate Production)
directed by Tony Bernal
2/20-2/24/2008 Grant Hall Theatre, UMKC Campus
THE COUNTRY WIFE by William Wycherley
directed by Theodore Swetz
3/29-4/13/2008 Studio 116, UMKC Performing Arts Center
19
Revised July 9, 2015
THE CURE AT TROY by Seamus Heaney, a version of Sophocles’ Philoctetes
directed by Barry Kyle
4/19-4/27/2008 Spencer Theatre, UMKC Performing Arts Center
2008-2009
THE HEIDI CHRONICLES by Wendy Wasserstein
directed by Donna Thomason
Sept 20-Oct 3, 2008
Studio 116, UMKC Performing Arts Center
*Special Benefit Reception Oct 6
TARTUFFE* by Molière
directed by Theodore Swetz
Sept 27-Oct 5, 2008
*Special Benefit Reception Oct 4
Spencer Theatre, UMKC Performing Arts Center
NADYA by Tom Mardikes (Undergraduate Production)
directed by Tom Mardikes and Johnny Wolfe
10/22-26/2008 Grant Hall Theatre, UMKC Campus
FIVE BY TEN (+ONE) by Tennessee Williams
directed by Gary Holcombe, Theodore Swetz, Johnny Wolfe, Jess Akin, and Ron Schaeffer
11/29-12/14/2008 Studio 116, UMKC Performing Arts Center
OUR TOWN by Thornton Wilder (co-production with Coterie Theatre)
directed by Jeff Church
1/27-2/22/2009
Coterie Theatre, Crown Center
GREAT EXPECTATIONS by Charles Dickens, adapted by Neil Bartlett
directed by Lucy Maycock
2/7-22/2009
Studio 116, UMKC Performing Arts Center
WATING FOR LEFTY by Clifford Odets (Undergraduate Production)
directed by Ron Schaeffer
2/25-3/1, 2009
Grant Hall Theatre, UMKC Campus
THE MASTER AND MARGARITA by Mikhail Bulgakov, adapted by Ron Hutchinson
directed by Barry Kyle
4/24-5/3/2009
Spencer Theatre, UMKC Performing Arts Center
2009-2010
KILLER JOE by Tracey Letts
directed by Theodore Swetz
10/2-11/2009
Studio 116, UMKC Performing Arts Center
ARCADIA by Tom Stoppard
directed by Barry Kyle
10/30-11/8/2009 Spencer Theatre, UMKC Performing Arts Center
THE LARAMIE PROJECT by Moisé Kaufman and Tectonic Theater Project
(Undergraduate Production)
directed by Ron Schaeffer
11/3-8/2009
Studio 116, UMKC Performing Arts Center
FARRAGUT NORTH by Beau Willimon (co-production with Unicorn Theatre)
directed by John Rensenhouse
11/11-12/13/2009 Unicorn Theatre, 3828 Main St.
MISS WITHERSPOON by Christoper Durang (co-production with Unicorn Theatre)
directed by Cynthia Levin and Steven Eubank
20
Revised July 9, 2015
12/2/2009-1/3/2010
Unicorn Theatre, 3828 Main St
SPOOKY DOG: A SCOOBY DOO MYSTERY by Eric Pliner and Amy Rhodes
(co-production with Coterie Theatre)
directed by Ron Megee
2/11-3/7/2010
Coterie Theatre, Crown Center
SLAMMED! KC SPEAKS OUT ON THE RECESSION
created and directed by Stephanie Roberts
2/12-21/2010
Studio 116, UMKC Performing Arts Center
LA BÊTE by David Hirson (Undergraduate Production)
directed by Gary Holcombe
2/24-28/2010
Grant Hall Theatre, UMKC Campus
GREEN WHALES by Lia Romeo (co-production with Unicorn Theatre)
directed by Cynthia Levin
3/3-28/2010
Unicorn Theatre, 3828 Main St
A MIDSUMMER NIGHT’S DREAM by William Shakespeare
directed by Theodore Swetz
4/9-25/2010
Studio 116, UMKC Performing Arts Center
TRAIN TO 2010 by Sibusiso Mamba
directed by Ricardo Khan
4/23-5/2/2010
Spencer Theatre, UMKC Performing Arts Center
2010-2011
MISS JULIE by August Strindberg
adapted by Craig Lucas
directed by Carla Noack
10/2-24, 2010
Studio 116, Olson PAC
BLACK COMEDY/THE WHITE LIARS by Peter Shaffer (Undergraduate Fall Production)
directed by Todd Carlton Lanker
10/19-30/2011
Grant Hall Theatre, UMKC Campus
THE KING STAG by Carlo Gozzi
directed by Stephanie Roberts and Theodore Swetz
10/23-31, 2010 Helen F. Spencer Theatre, Olson PAC
DISTRACTED by Lisa Loomer
(co-produced with Unicorn Theatre)
directed by Cynthia Levin
11/23-12/12/2010 Unicorn Theatre, 3828 Main St.
OH WHAT A LOVELY WAR by Joan Littlewood and Theatre Workshop
(co-produced with Kansas City Actors Theatre)
directed by Barry Kyle
2/11-2/27/2011 Liberty Memorial, 100 West 26th St, KC MO
THE SHAPE OF THINGS by Neil LaBute (Undergraduate Spring Production)
directed by Ron Schaeffer and Carla Noack
2/16-26/2011
Grant Hall Theatre, UMKC Campus
THE GREEK MYTHOLOGY: OLYMPIAGANZA by Don Zolidis
(co-production with Coterie Theatre)
directed by Meghann Henry
Touring show to area schools.
3/4-6/2011 performances at Coterie Theatre, Crown Center, 2450 Grand Blvd.
21
Revised July 9, 2015
RUINED by Lynn Nottage
(co-produced with Unicorn Theatre)
directed by Ricardo Khan
4/13-5/1/2011
Unicorn Theatre, 3828 Main St.
SHOOTHORSES adapted by Ron Hutchinson, based on the novel by Horace McCoy
Directed by Barry Kyle
4/23-5/1/11
Helen F. Spencer Theatre, Olson PAC
2011-2012
GOD OF CARNAGE by Yasmina Reza
(co-produced with Unicorn Theatre)
Directed by Mark Robbins
10/19-11/13/2011 Unicorn Theatre, 3828 Main St
THE COMEDY OF ASSES by Plautus
directed by Stephanie Roberts and Theodore Swetz
10/21-30/2011
Helen F. Spencer Theatre, Olson PAC
THE FARNSWORTH INVENTION by Aaron Sorkin (Undergraduate Fall Production)
directed by Ron Schaeffer
11/10-20/2011
Studio 116, Olson PAC
THE SALVATION OF IGGY SCROOGE by Larry Larsen and Levi Lee
(co-produced with Unicorn Theatre)
Directed by Missy Koonce
11/30-12/24/2011 Unicorn Theatre, 3828 Main St.
THE WRESTLING SEASON by Laurie Brooks
(co-production with Coterie Theatre)
directed by Leigh Miller
1/24-2/19/2012 Coterie Theatre, Crown Center, 2450 Grand Blvd.
THE LAST DAYS OF JUDAS ISCARIOT by Stephen Adly Guirgis
directed by Barry Kyle
2/3-19/2012
Studio 116, Olson PAC
BILLY BISHOP GOES TO WAR by John Gray
(co-produced with Kansas City Actors Theatre)
directed by John Rensenhouse
2/10-26/2012
Liberty Memorial, 100 West 26th St, KC MO
A YORKSHIRE TRAGEDY by Thomas Middleton (Undergraduate Spring Production)
directed by Scott Stackhouse
3/9-18/2012
Studio 116, Olson PAC
THE WINTER’S TALE by William Shakespeare
directed by Barry Kyle
4/20-29/2012
Helen F. Spencer Theatre, Olson PAC
Complied by Cynthia Puppel Stofiel
2012-2013
BLOODY BLOODY ANDREW JACKSON (co-production with Unicorn Theatre)
by Alex Timbers (book) and Michael Friedman (music/lyrics)
directed Cynthia Levin
10/10 – 11/4/13
Unicorn Theatre, 3828 Main St.
THE LADY FROM THE SEA by Henrik Ibsen
22
Revised July 9, 2015
translated by Pam Gems
directed by Theodore Swetz
10/19-28/2013 Helen F. Spencer Theatre, Olson PAC
COVER OF LIFE (Undergraduate Production)
by R. T. Robins
directed by Ron Schaeffer
11/2-11/13
Studio 116, Olson PAC
INSPECTING CAROL (co-production with Unicorn Theatre and KCAT)
by Daniel Sullivan
directed by Theodore Swetz
11/28-12/23/13
Unicorn Theatre, 3828 Main St.
A DEVIL INSIDE
by David Lindsay-Abaire
directed by Scott Stackhouse
11/30-12/9/13
Studio 116, Olson PAC
DEATH OF A SALESMAN (co-production with Kansas City Repertory Theatre)
by Arthur Miller
directed by Eric Rosen
1/18-2/10/13
Helen F. Spencer Theatre, Olson PAC
NUMBER THE STARS (co-production with Coterie Theatre)
adapted by Jeff Church from the Lois Lowry book
directed by Cynthia Levine
1/22-2/21/13
Coterie Theatre, Crown Center, 2450 Grand Blvd.
EAT THIS! KC CHEWS ON THE POLITICS OF FOOD
Written and directed by Stephanie Roberts
3/1-10/13
Studio 116, Olson PAC
DRUMS IN THE NIGHT (Undergraduate Production)
By Bertolt Brecht
Directed by Erin Merritt
4/5-14/13
Studio 116, Olson PAC
KANSAS CITY SWING
by Trey Ellis and Ricardo Khan
directed by Ricardo Khan
4/19-28/13
Helen F. Spencer Theatre, Olson PAC
BURNT BY THE SUN
by Peter Flannery, adapted from the film by Nikita Mikhalkov
directed by Tom Mardikes
4/19-28/13
Studio 116, Olson PAC
2013-2014
SEVEN GUITARS by August Wilson.
Directed by Scott Stackhouse.
PAC 116
Sept 27 - Oct 6
BIG LOVE by Charles S. Mee.
Directed by Megan Sandberg-Zakian.
COPAKEN STAGE
Oct 18 - Oct 27
23
Revised July 9, 2015
SEMINAR by Theresa Rebeck
Co-production with Unicorn Theatre.
Directed by Theodore Swetz.
UNICORN THEATRE
Oct 16 - Nov 10
Undergrad intensive: CHEKHOV SHORTS
Directed by Hiedi Van.
THE FISHTANK
Oct 31 - Nov 3
THE THREE SISTERS by Anton Chekhov.
Directed by Michael Pauley.
GRANT HALL THEATRE
Oct 11 - Oct 20
TWELFTH NIGHT by William Shakespeare. DISCOVERY PROJECT for 1 st year MFA actors.
Directed by Carla Noack.
GRANT HALL 306
Nov 15 - Nov 18
ALMOST, MAINE by John Cariani,
Directed by John Rensenhouse.
PAC 116
Nov 29 - Dec 8
A CHRISTMAS CAROL by Charles Dickens.
Co-produced with Kansas City Repertory Theatre.
Directed by Kyle Hatley.
Spencer Theatre PAC
CLYBOURNE PARK by Bruce Norris.
Co-production with Unicorn Theatre.
Directed by Joe Price.
Unicorn Mainstage.
Dec 4 - Dec 29
ROMEO & JULIET by William Shakespeare.
Co-production with Kansas City Repertory Theatre.
Directed by Eric Rosen.
Spencer Theatre PAC
Jan 17 - Feb 9
AFFLICTED: Daughters of Salem by Laurie Brooks.
Co-production with Coterie Theatre.
Directed by Jeff Church.
Coterie Theatre
Jan 28 - Feb 21
JOURNEY’S END by R.C. Sheriff.
Co-production with Kansas City Actors Theatre and The National WWI Museum.
Directed by Mark Robbins.
JC Nichols Theatre at The National WWI Museum.
Feb 14 - Mar 2
DISCOVERY PROJECT #2. EPIC THEATRE 1st year MFA project.
Led by Stephanie Roberts.
PAC 116
Feb 17 to Mar 21
24
Revised July 9, 2015
SAMUEL BECKETT Winter Intensive for undergraduates
Directed by Heidi Van.
THE FISHTANK
Feb 20 - Feb 23
PLAYBOY OF THE WESTERN WORLD by John M. Synge. Undergraduate production.
Directed by Tom Mardikes.
116 PAC
Mar 14 - Mar 23
CONTEMPORARY ONE ACTS
Directed by Theodore Swetz.
116 PAC
Apr 23 – Apr 30
LOVES’ LABOR’S LOST by William Shakespeare.
Directed by Edward Stern.
Spencer Theatre PAC
May 2 - May 11
2014-2015
OUR TOWN by Thornton Wilder.
Co-production with Kansas City Repertory Theatre.
Directed by David Cromer.
Spencer Theatre PAC
Sept. 5 - 28
THE CAUCASIAN CHALK CIRCLE by Bertolt Brecht & Alistair Beaton (translation)
Directed by Megan Sandberg-Zakian.
Spencer Theatre PAC
Oct 17 - 26
SHAKESPEARE SHORTS. Undergraduate Intensive.
Directed by Heidi Van.
The Fishtank.
Oct 2 - 5
A MIDSUMMER NIGHT’S DREAM by William Shakespeare. Undergraduate.
Directed by Scott Stackhouse.
Grant Hall Theatre.
Oct 10 - 19
PERICLES by William Shakespeare.
Directed by Joshua Brody.
116 PAC
Dec 5 - 14
PRIVATE EYES by Steven Dietz. Undergraduate.
Directed by Elizabeth Bettendorf Bowman.
Grant Hall 105
Nov 28 – Dec 7
A CHRISTMAS CAROL by Charles Dickens.
Co-production with Kansas City Repertory Theatre.
Directed by Kyle Hatley.
Spencer Theatre PAC
Nov 21 – Dec 26
25
Revised July 9, 2015
BENGAL TIGER AT THE BAGHDAD ZOO by Rajiv Joseph.
Co-production with Unicorn Theatre.
Directed by Cynthia Levin.
Unicorn Theatre
Dec 3 -28
THE MIRACULOUS JOURNEY OF EDWARD TULANE by author Kate DiCamillo.
Co-production with The Coterie.
Directed by David Saar.
The Coeterie.
Jan 27 - March 1
LASSO OF TRUTH by Carson Kreitzer.
Co-production with Unicorn Theatre.
Directed by Johnnie Wolfe.
Jan 21 - Feb 15
EPIC Year 2 by Stephanie Roberts & Ensemble.
Directed by Stephanie Roberts.
116 PAC.
Mar 6 - 15
MY AMERICAN MUSICAL. Undergraduate Intensive.
Directed by Heidi Van.
The Fishtank.
Feb 19 - 22
ROCKY HORROR SHOW by Richard O’Brien. Undergraduate.
Directed by Steven Eubank.
Grant Hall Theatre.
Feb 27 – Mar 8
TEACHER’S LOUNGE by Stephanie Demaree. New Play. Undergraduate.
Directed by Stephanie Roberts.
Grant Hall 105.
THE LIAR by Pierre Corneille, translation David Ives.
Directed by Ted Swetz.
116 PAC.
April 24 – May 3
FREEDOM RIDERS by Ricardo Khan, Murray Horwitz, Kathleen McGhee-Anderson, Nathan Jackson, Nikkole
Salter.
Directed by Ricardo Khan.
Spencer Theatre PAC.
May 1 - 10
26
Revised July 9, 2015
Kansas City Repertory Theatre
(Formerly MISSOURI REPERTORY THEATRE)
Founded in 1964, the Kansas City Repertory Theatre (formerly Missouri Repertory Theatre), is
Kansas City’s oldest professional theatre company and one of the nation’s leading regional
theatres. Actors, directors and designers are drawn from across the nation and around the world.
The Rep and UMKC Theatre are tied together in a unique, integral structure. Some of the Rep’s
administrative and production staff also serve similar roles with UMKC Theatre.
Our Vision
To maintain and enhance our national reputation as a leading professional theatre training
program that serves the Kansas City area, the State of Missouri and the nation at large. To infuse
our students in the highest level of professionalism through an on-going symbiotic relationship
with Kansas City Repertory Theatre and other professional theatres in Kansas City.
Mission Statement: UMKC Theatre
UMKC Theatre is comprised of a team of creative, educational professionals who work actively
in the professional theatre. We build bridges. We assist the creative student to make the journey
to becoming a creative professional. The practice of the department is to vigorously educate
students in the many arts, crafts and traditions of theatre, and provide a basis for future careers in
the creative industries. Our specialties are the development of actors, designers, technicians and
historians. We expose our students to a wide range of theatrical influences and traditions. Under
the guidance of extremely experienced mentors, creativity and professional discipline are valued
and developed. Our program offers intensive hands-on experience, in a conservatory training
tradition, while at the same time fostering the analytical and contextual skills offered by a liberal
arts education. The whole of greater Kansas City is our auditorium. The practical experience of
theatre making occurs not only within the performing venues of UMKC, but also in many
professional theatres in the Kansas City area. We therefore stress theatre’s role in the overall
civic dialogue, as well as giving our students professional exposure, and contacts, before they
graduate. Theatre is a passion. We seek for it, train for it and embody it.
Goals and Objectives
 To provide our students with the skills necessary to establish rewarding careers in an
expanding and rapidly changing profession.
 To strengthen and develop relationships with professional theatres, artists and
communities in greater Kansas City, and to devise major projects and initiatives which
can make an impact on the national stage.
 To expand working spaces for our productions, rehearsals and craft shops.
 To enhance the network of UMKC theatre alumni who will maintain their participation
by supporting current students and new theatre-making initiatives in Kansas City
 To further strengthen our national reputation as a major American theatre training
institution.
27
Revised July 9, 2015
Position Statement
The history of theatre – classic and contemporary – is one of an art form examining the breadth
and depth of human experience. The UMKC Department of Theatre is dedicated to its
responsibility of preparing students for professional participation in a full range of theatre arts. In
the context of the history of the art form, preparation, process, production and performance may
include expressions that some people could find profane or morally objectionable, for example
nudity*, strong language, controversial moral and political themes (examples can be found in
both classic and contemporary plays – TROJAN WOMEN, OEDIPUS, EQUUS). UMKC
Theatre works to preserve the social critique aspects of the theatre arts in both the classics and as
the art form evolves. For all matters regarding the propriety of interactions with actors and stage
managers, the Actor’s Equity Association Rule Books** are taken as reference and found at the
AEA website***. The expectation is for the student’s academic and artistic performance to meet
standards in a manner deemed by the faculty appropriate to professional theatre and indicative of
student progress toward that end.
*for instance, in the case of figure drawing as well as in performance
Discrimination Grievance Procedures for Students
http://www.umsystem.edu/ums/rules/collected_rules/grievance/ch390/grievance_390.010
http://www.umkc.edu/diversity/documents/complaintprocess.pdf
Statement of Human Rights
The Board of Curators and UMKC are committed to the policy of equal opportunity, regardless
of race, color, religion, sex, sexual orientation, national origin, age, disability and status as a
Vietnam era veteran. Commitment to the policy is mentored by the Division of Diversity, Access
& Equity, but it is the responsibility of the entire university community to provide equal
opportunity through relevant practices, initiatives and programs.
Division of Diversity, Access & Equity 5115 Oak Street (816)235-1323 Fax:(816)235-6537
mailto:umkcaffirmativeaction@umkc.edu
http://www.umkc.edu/diversity/index.asp
Mandatory Harrassment Training
http://www.umsystem.edu/ums/hr/harassment_training
28
Revised July 9, 2015
The Masters of Fine Arts Program
In the mid 1970’s, the University of Missouri identified UMKC as the Performing Arts campus
in the state. In 1980, the Missouri State Coordinating board of Higher Education approved the
Master of Fine Arts in Theatre. The Board further stipulated that UMKC would be the only state
institution authorized to offer a MFA degree in theatre. At this same time, the Hallmark
Corporation Foundation, later known as the Hall Family Foundation, endowed the MFA program
with a sizable financial grant that allowed the Department of Theatre to establish “Hallmark”
scholarships and faculty appointments. This focus on the MFA degree at UMKC continues to
govern the direction of the UMKC Theatre.
The goal of the Master of Fine Arts Program is the preparation of actors, stage managers,
designers, and technical directors for careers in the theatre arts. For people intending to teach,
our training provides a perspective and set of standards oriented to the professional theatre. The
training is performance and production oriented and a special arrangement between UMKC
Theatre, and the Kansas City Repertory Theatre provides a unique environment for teaching and
learning.
THE PERFORMANCE PROGRAM
Curriculum is revised every semester in order to reflect specialized actor- training
“block sessions.”
ACTING
The acting program is a three-year professional actor-training program interacting with the
Kansas City Repertory Theatre, a professional Equity LORT B Theatre.
FIRST YEAR The first year of training is a highly disciplined, process-oriented period of study
including: a morning group warm-up; collaboration class which integrates students and faculty
from each area of study; intensive breath and vocal production; basic speech work; introductory
dialect work; text analysis; alignment and self-use process; physical approaches to
characterization including physical isolations and effort shape; neutral, emotional and character
mask work and ballroom dance. We pursue intense exploration of creative technique, based on
Constantine Stanislavski, Stella Adler and Morris Carnovsky’s principles of theatrical truth;
building a character; and ensemble play. Performance work includes the first-year “Discovery
Project” that usually is inspired by classical material as well as performing in main stage
productions during their second semester. Other projects may center around social issues of the
day or character searches.
SECOND YEAR In the second year of training the student actor continues with a morning
warm-up, collaboration class; voice production along with continued speech and dialect work
and a focus on heightened text and extended voice; private and ensemble singing tutorials; stage
combat (unarmed, rapier, dagger); period-style movement including social convention and
dance; Commedia dell' arte characterization, mask work and personal clown; continued work on
acting Shakespeare; intensive work on Moliere verse text integrated with the period-style
movement and comic technique; restoration or other heightened language text; and application of
the actor’s process to audition technique and contemporary text. Essential Meisner work is
folded into exploration of creative technique. Second-year actors continue public performance
work with guest and faculty directors on new, contemporary and period plays chosen specifically
29
Revised July 9, 2015
for the training. Occasionally, roles at the Kansas City Repertory Theatre, and other professional
theatres in town, are available for second-year actors.
THIRD YEAR Third year actors continue to apply their craft to challenging studies in many
styles of plays; they deepen their understanding and application of Meisner technique and work
on ongoing solo and ensemble exploration; tutorials in speech and movement as well as
voiceover workshops and acting for the camera. Public performance work intensifies with
specific productions chosen to challenge the actor's art within the training program. Actors also,
when applicable, audition for Kansas City Repertory productions and are cast, when appropriate,
in roles or as understudies. Actors also audition and perform, when appropriate, in other Kansas
City professional Equity theatres. In March, the actors are showcased in New York. All students
who are considered “in good standing” participate in showcase.
PERFORMANCE STUDENT’S INVOLVEMENT IN THE REP AND OTHER
PROFESSIONAL COMPANIES
The current policy approved by the Performance Faculty defines the involvement and
opportunities for MFA Acting students in The Rep and other professional companies in town.
1st and 2nd Year:
Occasionally roles or understudy roles may be available for members of the 1st
and 2nd Year Classes. The Performance Faculty advocates for opportunities and
students are required to receive approval from the performance faculty before
accepting any roles outside of the department.
3rd Year:
Students are encouraged to audition for Kansas City Rep productions and other
professional productions in Kansas City. Before any roles are accepted, students
and faculty will weigh the training value of a role or understudy role with other
acting opportunities in the training program and are required to receive approval
from the performance faculty before accepting any roles outside of the
department.
GTA OBLIGATIONS
Unless otherwise stated by the performance faculty, students are required to remain at UMKC
until the last scheduled day of final examinations each semester. In no instance can a GTA
change the scheduled dates and times published by the university for undergraduate courses.
NEW YORK SHOWCASE
Participation in the New York Actor’s Showcase is by invitation only and extended to MFA
Actors in their final semester of training at UMKC. Invitation will be based on the actor’s
demonstration of the skills and creativity necessary to successfully enter the professional theatre
arena.
To be eligible for participation, MFA Actors must have completed and received a passing grade
of B or higher in all coursework prior to the beginning of their fifth semester of training. Any
incomplete still on the books the first day of class of the fifth semester of training will
automatically result in disqualification from participation in the New York Actor’s Showcase.
An MFA Actor can complete all coursework and be awarded the degree of Master of Fine Arts
even though she/he has not been invited to participate in the New York Showcase.
30
Revised July 9, 2015
PHYSICAL CONTACT POLICY--A Statement of Understanding
Standard actor training includes physical contact between teacher and student, student and
student, and student and the self. Touch may be used to facilitate:
Breathing and sound production
Improved alignment
Identification and release of habitual holding patterns and areas of tension
Increased flexibility, mobility and strength
Deepening of an emotional, physical or vocal response
If you have an injury, chronic condition, or an area of sensitivity or pain, please notify the
instructor at the conclusion of the first class meeting. If the student is uncomfortable with any
physical contact, he or she should immediately inform the instructor, or wait until after class,
whichever the student prefers. In the case where a student feels uncomfortable with any physical
contact, the student may say “STOP”, or move away from the contact in order to end it. A
REQUEST TO CEASE ANY PHYSICAL CONTACT WILL HAVE NO EFFECT ON THE
STUDENT’S GRADE.
31
Revised July 9, 2015
UNIVERSITY O F MISSOURI-KANSAS CITY
KANSAS CITY, MISSOUR
School of Graduate Studies
MASTER OF FINE ARTS PROGRAM OF STUDY
In consultation with the adviser, the student should initiate this application, secure the approvals
indicated below, and present to the Dean or Graduate Officer for processing
REVISED 12.5.13
prior to complettion of 15 hours applicable to the degree program.
NAME (PRINTED OR TYPED)
STUDENT IDENTIFICATION NUMBER
Master of Fine Arts
CURRENT ADDRESS
DEGREE SOUGHT
Acting & Directing: Acting
CITY, STATE
ZIP CODE
DEGREE PROGRAM & EMPHASIS AREA
Colleges and universities attended and degrees received (give dates):
PROGRAM OF STUDY attached
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no "I" on record)
Final examination/Showcase
review
DATE:
See attached final exam form.
Master of Fine Arts: Acting and Directing
NAST documentation - reviewed during re-accreditation by National Association of Schools of Theatre
Third Year Roles/Residency
Third Year Roles/Residency
External Showcase, if any
Date:
Location:
SUPERVISORY COMMITTEE
Student signature
Event:
APPROVALS
**indicates Chair of Committee
Theodore Swetz**
Dr. Jennifer Martin
Stephanie Roberts
Carla Noack
Dr. Felicia Londré
R. Scott Stackhouse
DATE
DATE
DATE
DATE
Carla
DATE
DATE
DATE
Advisor signature
Cynthia Stofiel
DATE
DATE
DATE
DATE
Tom Mardikes
DEPT CHAIRPERSON (A&S) OR DEAN (PROFESSIONAL SCHOOL)
DATE
Associate Dean, College of Arts and Sciences
DATE
32
Revised July 9, 2015
MFA ACTING & DIRECTING: Acting: Completed Program of
Study
MFA ACTING & DIRECTING: Acting : Proposed Program od Study
REVISED 12.5.13
Acting-First Semester
Course Name
5501RA Voice Training
5503RA Stage Movement
5545 Professional Acting Techniques I
5520A Ind Perf Studies
5520B Ind Perf Studies
55-- Theatre Histroy (six semester rotation)
Total
Acting-Second Semester
Course Name
5501RB Voice Training
5503RB Stage Movement
5546 Professional Acting Techniques II
5563 Text Analysis
55-- Theatre History (six semester rotation)
5520A Ind Perf Studies
Total
Acting - Third Semester
Course Name
5501RC Voice Training
5503 RC Stage Movement
5547 Professional Acting Techniques III
5549A Master Class in Acting
Total
Acting - Fourth Semester
Course Name
5501RD Voice Training
5503RD Stage Movement
5548 Professional Acting Techniques IV
5562 Actor Practicum
Total
Acting - Fifth Semester
Course Name
5549B Master Class in Acting: Audition & Voice
5697 Repertory Theatre: Residency
5520C Individual Performance Studies
Total
Acting - Sixth Semester
Course Name
5549C Master Class in Acting
5589R Research and Performance
Total
Master of Fine Arts: Acting and Directing
# of
Credits
2
2
3
1
1
3
12
class
#
Course Name
Semester
Hours
5501RA
5503RA
5545
5520A
5520B
55
Grade
2
2
3
1
1
3
12
Acting-Second Semester
# of
Credits
2
2
3
3
3
1
14
Course Name
5501RB
5503RB
5546
5563
55
5520A
Total
Acting - Third Semester
# of
Credits
2
2
3
2
9
Course Name
5501RC
5503 RC
5547
5549A
# of
credits
2
2
3
3
10
Course Name
5501RD
5503RD
5548
5562
2
2
3
3
3
1
14
2
2
3
2
9
Total
Acting - Fourth Semester
Total
2
2
3
3
10
Total
2
6
1
9
Acting - Fifth Semester
# of
credits
2
6
1
9
Course Name
5549B
5697
5520C
Acting - Sixth Semester
# of
credits
2
4
6
Course Name
5549C
5589R
2
4
Total
6
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
33
MET?
Revised July 9, 2015
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Showcase review
DATE:
Proposed Program of Study
See attached final exam form.
Final degree audit by Advisor:
Student Signature
Date:
Student Signature:
Date:
Advisor Signature:
Date:
Advisor Signature:
Date:
34
Revised July 9, 2015
THE DESIGN PROGRAM
CHARRETTES
Recent artists who have come to campus for intensive workshops we call “Charrettes,” include:
Ralph Koltai (“dean” of European scene designers); Mary Zimmerman (Tony Award-winning
director); Santo Loquasto (Tony winning Academy Award nominee in costume and scenic
design); Fiona Shaw (internationally acclaimed film and stage star); Ian McNeil (Tony and
Olivier Award-winning designer of BILLY ELLIOT); Eldon Elder (Broadway designer); and
Barry Kyle (Artistic Associate of The Royal Shakespeare Company); Deborah Landis (President
of the Hollywood Costume Designers Guild and designer of INDIANA JONES and Michael
Jackson's THRILLER); Thomas Walsh (President of the Hollywood Art Directors & Scenic, Title
and Graphic Artists Guild and designer of DESPERATE HOUSEWIVES); Douglas Enderle
(Head of Design, Walt Disney World and Epcot Center); George Tsypin (renowned opera
scenographer), Willa Kim (costume designs for stage and screen); Colette Peters (author of 6
books of spectacular cakes and their decorating as well as an internationally renowned television
celebrity), Victoria Morgan (Artistic Director, Cincinnati Ballet).
The Charrette program brings distinguished artists to campus for intensely concentrated periods
of time. The program’s goal is to introduce students to acknowledged masters of unique vision,
enabling students to learn from and network with celebrated representatives of the national and
international entertainment industries.
IMMERSIVE DESIGN
The officers of the Hollywood scenery and costume design guilds monitor the UMKC
professional training program(s); their interest in the program allows UMKC students of design
to benefit from exposure to the leaders and the creative forces on the leading edge of the
immersive design industry.
FILM SCREENINGS
Required viewing for all UMKC graduate students of design, Screenland events are periodically
scheduled showings of iconic films and documentaries intended to inform, enrich, inspire, and
extend the student of design's cultural horizons and artistic experiences. Films are shown in the
New Student Union Theatre on a wide screen with state-of–the–art sound and are free to all
Departmental students, faculty and staff.
35
Revised July 9, 2015
UNIVERSITY O F MISSOURI-KANSAS CITY
KANSAS CITY, MISSOURI 64
School of Graduate Studies
MASTER OF FINE ARTS PROGRAM OF STUDY
In consultation with the adviser, the student should initiate this application, secure the approvals
indicated below, and present to the Dean or Graduate Officer for processing
REVISED 4.26.13
prior to complettion of 15 hours applicable to the degree program.
NAME (PRINTED OR TYPED)
STUDENT IDENTIFICATION NUMBER
Master of Fine Arts
CURRENT ADDRESS
DEGREE SOUGHT
Theatre-Design & Technology
CITY, STATE
ZIP CODE
DEGREE PROGRAM & EMPHASIS AREA
Colleges and universities attended and degrees received (give dates):
PROGRAM OF STUDY attached
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no "I" on record)
Final examination/Portfolio
review
DATE:
See attached final exam form.
Master of Fine Arts: Design & Technology
NAST documentation - reviewed during re-accreditation by National Association of Schools of Theatre
Specify
Internship
Residency
Specify
Final Design/TD/SM project
External Portfolio Review, if any
Date:
Location:
SUPERVISORY COMMITTEE
Student signature
DATE
Advisor signature
Cynthia Stofiel
DATE
Event:
APPROVALS
**indicates Chair of Committee
DATE
John Ezell **
DATE
Chuck Hayes
DATE
Victor En Yu Tan
DATE
Lindsay W. Davis
DATE
Gene Friedman
DATE
Greg Mackender
DATE
Chaz Bell
DATE
Sadie DeSantis
DATE
John Davis Carroll
DATE
DATE
Tom Mardikes
DEPT CHAIRPERSON (A&S) OR DEAN (PROFESSIONAL SCHOOL)
DATE
36
Revised July 9, 2015
DATE
Associate Dean, College of Arts and Sciences
37
Revised July 9, 2015
COSTUME DESIGN AND TECHNOLOGY
The M.F.A. costume program at UMKC offers graduate costume study in design and technology.
A faculty of established working professionals offers a conservatory training approach that
allows a personalized training to meet the individual aspirations of each student.
The candidate choosing a costume design emphasis will be prepared to compete for a position as
a professional costume designer, or as an assistant in this field. The candidate choosing a
costume technology emphasis will be prepared to compete for jobs as a costume shop manager, a
draper, milliner, a painter/dyer, and in some cases a tailor.
The M.F.A. degree requires a minimum of 60 credit hours of approved courses to be completed
with a 3.0 grade point average or better.
The three year program involves continuous work in drawing, rendering, painting, and practical
costume construction skills. A minimum of 12 credits in theater history and dramatic literature
are also required for the degree.
Only those students who demonstrate satisfactory progress in the acquisition of required skills
and professional discipline will be invited by the faculty to continue the following year.
Production and design assignments are made each semester according to the needs, skills,
interests, and progress of the students.
During the second year, design/technology students will concentrate on advanced technical
courses and working in the appropriate production areas. Internship with the Kansas City
Repertory Theatre is an option that allows you to work closely with major artists in accordance
with your abilities and area of emphasis.
Following the student’s second year, they will complete two semesters of residency. The
residency assignment each semester will be made with the Kansas City Repertory Theatre, the
Department of Theater, or, in special situations, an outside professional or academic
environment. The assignment will be determined by matching the student’s interests and degree
emphasis with the available production assignments.
Toward the end of the student’s final semester in the program, they are required o present a final
portfolio review. This portfolio review session will highlight your work, both in the classroom
and in production, during the student’s time in the M.F.A. program and reveal their growth and
development from the time of the student’s entry to the portfolio presentation.
38
Revised July 9, 2015
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSORS
EACH SEMESTER.
MFA Design Technology: Design: Proposed Program od Study
MFA Design Technology: Design: Completed Program of Study
REVISED 4.26.13
Costume Design - First Semester
# of
Credits
Course Name
5532A Professional Costume Design
3
5590D Rendering Techniques for Thea Designer I
3
5535A Tech Studies in Costume & Makeup
3
5540 Pattern Drafting and Cutting
3
5500RA Theatre Collaboration
1
55-- Theatre History (Londre)
3
Total
class #
Course Name
Semester
Hours
16
Costume Design - Second Semester
# of
Credits
Course Name
5532B Professional Costume Design
3
5531R Rendering Techniques for Thea Designer II
3
5535B Technical Studies in Costume & Makeup
3
55-- Theatre History (Londre) or
333 (even) or 352 (even) History of Costuming
Total
3
12
Costume Design - Third Semester
# of
credits
Course Name
5532C Professional Costume Design
3
5551 Rendering Techniques for Thea Designer III
3
55-- Theatre History or Text Analysis or Dramatic Lit
3
5535C Technical Studies in Costume & Makeup
3
5534A Costume Construction
Total
3
15
Costume Design - Fourth Semester
# of
credits
Course Name
5532D Professional Costume Design
3
5552R Rendering Techniques for Thea Designer IV
3
55-- Theatre History or Text Analysis or Dramatic Lit
3
5535C Technical Studies in Costume & Makeup
Total
3
12
Costume Design - Fifth Semester
# of
credits
Course Name
5597 Internship (3)
3
5532 D-Costume Design
3
Total
6
Costume Design - Sixth Semester
# of
credits
Course Name
5597 Internship (3)
3
5532 D-Costume Design
3
Total
6
39
Grade
Revised July 9, 2015
Master of Fine Arts: Design & Technology - Design
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific
area
MET?
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Proposed Program of Study
Student Signature
Date:
See attached final exam form.
Final degree audit by Advisor:
Student
Signature:
Date:
M.F.A. COSTUME TECHNLOGY
Suggested course of study:
First year- Costume Technology
Fall
Costume Construction I-Period Foundations
Tech. Studies in Costuming and Make-up A
Cutting and Draping
Theatre Collaboration
History of Design and Technology
Costume Design A
Winter
Costume constr. II-Period Foundations
Tech. Studies in Costumes and Make-up B
Theatre Collaboration
History of Design and Tech. II or
Costume History (Based on transcript)
Second Year-Costume Technology
Fall
Theatre History or Dramatic Literature
Costume Construction III-Foundations
Technical Studies in Costumes and Make-up C
Cutting and Draping
Theatre Collaboration
Winter
Theatre History or Dramatic Literature
Costume Construction IV-Foundations
Tech. Studies in Costumes and Makeup D
Theatre Collaboration
Elective
Third Year-Costume Technology
Residency and Electives
40
Revised July 9, 2015
LIGHTING DESIGN
The MFA Lighting Design Program at UMKC is a three year, 60 credit hour course of study.
The focus of the lighting design program is to train the student to enter the profession prepared to
work at the highest level. Training consists of a highly rigorous blend of academic course work
and a demanding design and production schedule. Within the Performing Arts on the UMKC
campus, the lighting program supports seven MFA productions and two undergraduate
productions, two opera productions, one musical, and five dance concerts with the Conservatory
of Music, and eight professional productions with the Kansas City Repertory Theatre. Students
will design two-three productions each year and serve on crew for over twenty.
In the first two years of study, lighting students will take four semesters of Professional Lighting
Design, two semesters of Rendering, four semesters of Theatre History, one semester of Text
Analysis, one semester of CAD drafting, Collaboration, and two semesters of another design
area. Residency and design are the key components of the third year. Students are encouraged to
spend at least a semester in their third year off-campus assisting professional designers and /or
designing professional productions.
In the past lighting students have assisted Ken Billington on the Radio City Music Hall’s
Christmas Show, ”Stars on Ice” TV Special and at the Houston Grand Opera; Mary Jo
Dondlinger at the Boston Ballet; Dawn Chiang at the Arizona Theatre and Milwaukee Repertory
Theatre, to name a few. Students will assist lighting designers at Kansas City Repertory Theatre,
such as Don Holder, Phil Monat, Dawn Chiang, Nancy Schertler, Dennis Parichy, Richard
Nelson, Jeff Davis, Rita Pietraszek and Michael Klaers. For designs while in residency, students
can work at Kansas City area Equity theatres or do second stage designs for regional theatres.
The lighting program has been honored in two successive years with the most prestigious award
available for a lighting student: in 2000, Kazuko Oguma received the Helmsley Lighting
Internship at Lincoln Center to work with the New York City Opera and the New York City
Ballet; in 2001, James Primm received the same internship, a highly competitive award that
supports only one recent lighting graduate for a year in New York. In the last decade, six others
were finalists.
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSORS
EACH SEMESTER.
41
Revised July 9, 2015
MFA Design Technology: Design: Proposed Program od Study
MFA Design Technology: Design: Completed Program of St
REVISED 4.26.13
Lighting Design - First Semester
Course Name
Thea 5570A Professional Lighting Design
55-- Theatre History or Text Analysis or Dramatic Lit
Thea 5514 History of Design and Technology I
Thea 5590-02 Rendering Tech for Thea Des I-figure
draw
Thea 5500RA Theatre Collaboration
Total
# of
Credits
3
3
3
class #
Course Name
Semester
Hours
3
1
13
Lighting Design - Second Semester
Course Name
Thea 5570B Professional Lighting Design
Thea 5585 Advanced Tech Drafting: AutoCAD
Thea 5515R History of Design and Technology II
or Theatre History or Text Analysis
Thea 5531R Rendering Tech for Thea DesII-figure
draw)
Thea 5572 Stage Light Equipment
Total
# of
Credits
3
3
3
3
2
14
Lighting Design - Third Semester
Course Name
Thea 5570C Professional Lighting Design
55-- Theatre History or Text Analysis or Dramatic Lit
55-- Elective
55-- Elective - Theatre Design (scenic, costume, sound)
Total
# of
Credits
3
3
3
3
12
Lighting Design - Fourth Semester
Course Name
Thea 5570D Professional Lighting Design
55-- Thea History or Text Analysis or Dramatic Lit
55-- Elecitive - Theatre Design (scenic, costume,
sound)
55-- Elecitive - Theatre Design (scenic, costume,
sound)
Total
# of
Credits
3
3
3
3
12
Lighting Design - Fifth Semester
Course Name
Thea 5697 Residency OR 5597 Intern
Thea 5590G Dir Grad Studies: Lighting
Total
Enroll in only one semester of 5597 and only one of 5697. Not repeatabled.
# of
Credits
6
6
Lighting Design - Sixth Semester
Course Name
# of
Credits
42
G
Revised July 9, 2015
Thea 5697 Residency OR 5597 Intern
Thea 5590G Dir Grad Studies: Lighting
Total
6
6
Master of Fine Arts: Design & Technology - Design
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Proposed Program of Study
Student Signature
Date:
Advisor Signature:
Date:
See attached final exam form.
Final degree audit by Advisor:
Student
Signature:
Advisor
Signature:
Date:
Date:
43
Revised July 9, 2015
SCENIC DESIGN
UMKC’s program in scenic design – “The Art School of the Theatre” – treats dramatic ideas and
techniques of drawing and painting with equal emphasis. The aim is to enable each student to
increase their capabilities and resources for design and to develop responsibility for the images
produced. The program shows cognizance of the high level of skill and individual virtuosity
demanded for employment and survival in major entertainment centers. The supposition is that
students who pass through the program are able to function competitively in professional
theatres, opera companies, film, and theme park venues.
The design program is focused on individualized instruction. Unlike other programs, this one
emphasizes the interaction between individual students and professional stage directors and
designers. The young designer is offered the opportunity to work in a wide range of styles and
approaches under the guidance of practicing, professional artists. Housed in the Kansas City
Repertory Theatre’s shops and studios, the learning environment strives to be adequate to the
experiences a student will have as they grow to maturity as artists and designers.
The program has these major components:
1. Scenography – organized around a substantial body of theory relating to American
theatrical forms and directed to the development of expressive rendering techniques
through systematic practice of drawing and painting.
2. History, Dramatic Literature, and Text Analysis – specifically directed toward research
into the distinctive character of American playwriting and design, their European and
Asian antecedents, and professional ethics.
3. Professional practice – students design productions under the supervision of an
impressive roster of professional stage directors and artists. The Kansas City Repertory
Theatre, the University theatre, the Coterie and Unicorn theatres provide well-equipped
laboratories and stage spaces in which students test, practice, and perfect processes
learned in the classroom. Design assignments are systematically graduated in scale and
complexity, consistent with the student’s increased command of the theatrical medium.
4. Charrettes – periodically conducted over a concentrated period bringing renowned
masters of unique vision such as Fiona Shaw, Santo Loquasto, George Tsypin. Deborah
Landis, Thomas Walsh and Ralph Koltai into the classroom. Charrettes enhance the aura
of the program with infusions of glamour, excitement, and creative challenge.
44
Revised July 9, 2015
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSORS
EACH SEMESTER.
MFA Design Technology: Design: Proposed Program od Study
MFA Design Technology: Design: Completed Program of Study
REVISED 4.26.13
Scenic Design - First Semester
Course Name
Thea 5536A Professional Scene Design
Thea 5590-02 Rendering Tech for Thea Des I-figure draw
Thea 5538 Scene Painting
Thea 5514 History of Design and Technology I
Thea 5500RA Theatre Collaboration
Total
# of
Credits
3
3
3
3
1
13
Course Name
Semester
Hours
Scenic Design - Second Semester
Course Name
Thea 5536B Professional Scene Design
Thea 5531R Rendering Tech for Thea DesII-figure draw)
Thea 5515R History of Design and Technology II
Thea 5590D: Special Problems - Drafting
Thea 5590D 0002 Computer Painting
Total
# of
Credits
3
3
3
3
3
15
Scenic Design - Third Semester
Course Name
Thea 5536C Professional Scene Design
Thea 5551 Rendering Tech for Thea DesIII-figure drawing
55-- Theatre History or Text Analysis or Dramatic Lit
Thea 5598R Research and Perf: production drafting
371 Stage Lighting OR 432 Costume Design
Total
# of
Credits
3
3
3
1
3
13
Scenic Design - Fourth Semester
Course Name
Thea 5536D Professional Scene Design
Thea 5552R Rendering Tech for Thea Des IV-figure
drawing
55-- Thea History or Text Analysis or Dramatic Lit
Thea 5598R Research and Perf: production drafting
Elective
Total
# of
Credits
3
3
3
1
2 or 3
12
Scenic Design - Fifth Semester
Course Name
Thea 5590D Directed Graduate Studies: Scene Design
Thea 5597 Internship
Thea 5598R Research and Perf: production drafting
Total
Scenic Design - Sixth Semester
Course Name
# of
Credits
6
3
1
10
# of
45
G
Revised July 9, 2015
Credits
Thea 5590D Directed Graduate Studies: Computer
Painting
Thea 5520A Individual Performance Studies
Thea 5598R Research and Perf: production drafting
Total
6
2
1
9
Master of Fine Arts: Design & Technology - Design
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Final degree audit by
Advisor:
Proposed Program of Study
See attached final exam form.
Student Signature
Date:
Student Signature:
Date:
Advisor Signature:
Date:
Advisor Signature:
Date:
46
Revised July 9, 2015
SOUND DESIGN
Sound is the youngest professional design field in theater. It should be understood that the
training desired and skills needed for sound design are similar yet in many ways different from
the other sight-based design fields. This program stresses a strong training in dramatic
interpretation and collaboration coupled with a mastery of recording studio and audio production
skills. The graduate from this program will be prepared to design for the best major and regional
theaters. Other employment opportunities exist in audio production facilities, audio-for-video
production, broadcast production, and sound reinforcement design and operation.
The faculty mentor develops the path of learning which is tailored for each individual student.
The faculty mentor determines the various aptitudes of the student and outlines a sequence of
learning that improves upon an individual's weaknesses and supports that individual's areas of
interest.
Depending upon production schedules, the student designer is required to attend two conventions
each year, the AES convention in the fall and the annual USITT convention each spring. The
Sound Design Commission produces an intensive collection of workshops, discussions and
design presentations. This is the most significant gathering of sound designers and serves as a
gradual introduction to the profession.
The sound design program has five main components:
(1) Design--involving interpretation, collaboration and idea development.
(2) Technical Skills--involving the mastery of the tools of production.
(3) History--involving research, text analysis and dramatic history.
(4) Production--involving the artistic merging of design, history and
technical skills through the experiences of numerous and varied productions.
(5) Entrepreneurship--involving the study of the business of the profession and career
growth.
The MFA degree requires a minimum of sixty credit hours of approved courses, including twelve
hours in history and literature. An accumulated grade point average of 3.0 ("B") must be
maintained throughout the student's training. Observation of the student's progress is continuous.
Design presentations are developed each year by the growing artist and are evaluated by other
students, the faculty mentor and working professionals.
47
Revised July 9, 2015
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSORS
EACH SEMESTER.
MFA Design Technology: Design: Proposed Program od Study
MFA Design Technology: Design: Completed Program of Study
REVISED 4.26.13
Sound Design - First Semester
# of
Credits
Course Name
Thea 5521A Professional Sound Design
3
The 5520I 0002 Sound Technology
2
Thea 5520I Ind Perf Studies: Adv Audio Recording
2
Thea 5520F 0001 Ind Perf St: Hard Disk Recording
2
Thea 5520F 0002 Ind Perf St: Sd Scoring/Music Creat
2
Thea 5500RA Theatre Collaboration
1
Total
class #
Course Name
Semester
Hours
12
Sound Design - Second Semester
# of
Credits
Course Name
Thea 5521B Professional Sound Design
3
Thea 5520I Ind Perf Studies: Adv Audio Recording
2
Thea 5520F 0001 Ind Perf St: Hard Disk Recording
2
Thea 5520F 0002 Ind Perf St: Sd Scoring/Music Creat
2
Thea 5590S Audio Art ( I -even years/II - odd years) H
3
The 5520I 0002 Sound Technology
Total
2
14
Sound Design - Third Semester
# of
Credits
Course Name
Thea 5521C Professional Sound Design
3
Thea 5520I Ind Perf Studies: Adv Audio Recording
2
Thea 5520FA 0001 Ind Perf St: Hard Disk Recording
2
Thea 5520FA 0002 Ind Perf St: Sd Scoring/Music Creat
2
Thea 55-- Thea History, Electronic Music, Directing H
Total
3
12
Sound Design - Fourth Semester
# of
Credits
Course Name
Thea 5521D Professional Sound Design
3
Thea 5520I Ind Perf Studies: Adv Audio Recording
2
Thea 5520F 0001 Ind Perf St: Hard Disk Recording
2
Thea 5520F 0002 Ind Perf St: Sd Scoring/Music Creat
2
Thea 5590S Audio Art ( I -even years/II - odd years) H
Total
3
12
Sound Design - Fifth Semester
# of
Credits
Course Name
Thea 5598R Research and Performance *
6
Thea55-- History, or electronic music, playwriting, directing H
3
Total
9
Sound Design - Sixth Semester
# of
Credits
Course Name
Thea 5697 Repertory Theatre: Residency *
Thea 5563 Text Analysis, 5520L Thea Mgmnt, Playwriting H
Total
6
2 or 3
8 or 9
48
Grade
Revised July 9, 2015
Master of Fine Arts: Design & Technology - Design
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific
area
MET?
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Proposed Program of Study
Student Signature
Date:
Advisor Signature:
Date:
See attached final exam form.
Final degree audit by Advisor:
Student
Signature:
Advisor
Signature:
Date:
Date:
49
Revised July 9, 2015
Notes on Sound Design Emphasis
Sound Design - Fifth Semester
Course Name
Thea 5598R Research and Performance *
Thea 5520FA 0003 Ind Perf: Virtual Instruments in Sound Design
Thea55-- History, or electronic music, playwriting, directing H
Total
Sound Design - Sixth Semester
Course Name
Thea 5697 Repertory Theatre: Residency *
Thea 5520FA 0003 Ind Perf: Virtual Instruments in Sound design
Thea 5563 Text Analysis, 5520L Thea Mgmnt, Playwriting H
Total
Total Sound Design Credits
* Students will enroll for 6hrs and this includes Professional Sound Design & Virtual Instruments class & Advanced Recording
H indicates a History requirement course; program recommends 15 hrs
1) 5521 A-D Professional Sound Design is a sequence of design courses
required of all major for all four semesters.
2) 476 Sound Technology required of all majors, but some may be
exempted from this introductory course
3) 5520 Hard Disk Recording required of all majors, will include Pro
Tools III, Sound Designer, Audio-for-Video, MIDI, and Sampling
4) 5521IA-ID Advanced Recording is required for four semesters and
includes all location recording, multi-track recording and mixing
5) 12 credit hours minimum, 18 hours recommended of history. These
courses include all graduate theatre history designations, History of
Design & Technology sequence and Text Analysis sequence. Advanced
dramatic literature courses in the English department may meet this
requirement with approval of advisor. Other elective-type courses can
be Electronic Music and Music Composition courses in the Conservatory, and Stage Directing.
6) 5598 Research & Performance will entail several design projects
directed by advisor.
8) 5697 Repertory theatre Residency will hopefully be a residency off
campus in an area of your interest, or on-campus with Kansas City
Repertory theatre.
9) Non-credit courses may include sitting in on undergraduate audio
50
Revised July 9, 2015
recording classes, enrolling in class piano, music history courses.
51
Revised July 9, 2015
THE TECHNOLOGY PROGRAM
The candidate choosing a technology emphasis will be prepared to compete for professional
positions as a technical director in regional, community or academic theaters, assistant technical
director & other supervisory technical positions, or other entertainment business related
positions.
The MFA degree requires a minimum of 60 credit hours of approved courses to be completed
with a 3.0 ("B") grade point average or better. You have a great deal of flexibility in planning
your program of study; however, there are a few required courses.
Course work includes intensive work in hand & computerized drafting, materials & structural
design, and a minimum of 12 credits in theater history and dramatic literature, as well as the
flexibility to add a concentration in an area of design. A major portion of the program involves
the student in production positions as a technical director or assistant for Dept. of Theater
productions and (for exceptional students) Kansas City Repertory Theatre productions.
Only those students who have demonstrated satisfactory progress in the acquisition of required
skills and professional discipline will be invited by the faculty to return for a second year. At the
end of each year the candidate will present his portfolio to the Technology faculty. The
evaluation by the Technology faculty will be based primarily on how the student develops and
demonstrates their talent during the year in the classroom and production work. Factors which
may or may not be relevant to this evaluation include: overall attitude and commitment to theater
discipline, the ability to meet deadlines, preparation and research, creative and conceptual ability
as well as the ability to implement ideas and solve problems, technical skills, collaborative
ability to work with others and communicate ideas, and a comparison to other at equal training
level.
For some students the focus of the third year of training is the residency - elected for six credits
each of the last two semesters that the students are enrolled. The student’s residency assignment
each semester will be made in the Kansas City Repertory Theatre, the Department of Theater, or
in most cases, in an outside professional or academic environment. The residency will be
suggested by the candidate & recommended by the student’s adviser and the Principal Graduate
Adviser; it will be approved by the Chairman of the Theater Department and the Artistic Director
of the Rep or the consenting supervisor in another academic or professional environment. Other
students, especially those choosing a design minor, elect to remain on campus during the third
year to continue studies with elective courses.
Toward the end of the student’s final semester in the program, they are required to present a final
portfolio review. This portfolio review session should highlight the student’s work both in the
classroom and in production during your time in the MFA program, and reveal their growth and
development from the time of their entry portfolio presentation. It should possibly be presented
from the viewpoint of preparing the student’s portfolio and presentation for future interviews.
52
Revised July 9, 2015
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSOR EACH
SEMESTER.
MFA Design Technology: Technology: Proposed Program od Study
MFA Design Technology: Technology: Completed
REVISED 4.26.13
Course Name
Thea 5573 Professional Technical Production
Thea 5577 Advanced Materials
Thea 5530 Drafting for the Theatre
Thea 55-- Thea History or Text Analysis or Dramatic Lit
Thea 5580RA Technical Seminar
Total
# of
Credits
3
3
3
3
2
14
class
#
Course Name
Semester
Technical Direction - Second Semester
Course Name
Thea 5585 Advanced Technical Drafting - AutoCAD
Thea 5577 Advanced Materials
Thea 55-- Thea History or Text Analysis or Dramatic Lit
Thea 5580RB Technical Seminar
Thea 5516 Tech Production -Stage Mechanics&Automation (even
yr)
OR Thea 5584 Master Class-Rigging (odd years) - 2 hrs
Total
# of
Credits
3
3
3
2
3
13-14
Technical Direction - Third Semester
Course Name
Thea 5514 History of Design and Technology I
Thea 5586 Structural Design I
Thea 5577 Advanced Materials
Thea 5580RC Technical Seminar
Total
# of
Credits
3
3
3
2
11
Technical Direction - Fourth Semester
Course Name
Thea 5577 Advanced Materials
Thea 5515R History of Design & Technology II
Thea 5580RD Technical Seminar
Thea 5587 Structural Design II
Thea 5516 Tech Production -Stage Mechanics&Automation (even
yr)
OR Thea 5584 Master Class-Rigging (odd years) - 2 hours
Total
# of
Credits
3
3
2
3
3
13-14
Technical Direction - Fifth Semester
Course Name
Thea 5597 Residency or Electives**
# of
Credits
6
53
Hours
Revised July 9, 2015
Technical Direction - Sixth Semester
Course Name
Thea 5697 Residency or Elective**
# of
Credits
6
Master of Fine Arts: Design & Technology - Technology
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Proposed Program of Study
Student Signature
Date:
Advisor Signature:
Date:
See attached final exam f
Final degree audit by Advisor:
Student
Signature:
Advisor
Signature:
**List of Suggested Alternatives
Thea 5590 Theatre Sound and Electronics
Thea 5575R Property Construction
Thea 5517A Stage Management I
Thea 5538 Scene Painting
Thea 5--- Professional Design (any area)
Thea 5500 Theatre Collaboration
Thea 5516 Special Effects for the Stage
54
Date:
Date:
Revised July 9, 2015
THE STAGE MANAGEMENT PROGRAM
The MFA candidate in Stage Management will be trained to work in the highest levels of
production in the American Theatre as a stage manager or production manager. Students will be
able to earn credit toward membership in Actor's Equity through their production
assignments with the professional Missouri Repertory Theatre.
The MFA degree requires 60 credit hours of approved courses with a minimum of a 3.0 (B)
grade point average. Stage Management students can receive credit working in summer theatre
during their training and effectively graduate in 2 1/2 years. Students will be assigned to work on
four productions per academic year with a mixture of Missouri Rep and Department of Theatre
productions. Opera and Dance stage management projects offer another option for interested
students.
The faculty mentor will assist and advise the student with the selection of internships and
residencies. Recent residencies have taken place at Kansas City Actors Theatre, Des Moines
Metropolitan Opera, Lincoln Center, the Pearl Theatre, New York, the Glimmerglass Opera
Company, and Houston Grand Opera.
All Department of Theatre productions are run on a model of the Equity Rule Book, and
additional experience in actual Equity rehearsals with The Rep provide the student with an
active, hands-on knowledge of professional practice and rules.
In the final semester of training, each student is required to present a portfolio review to the
design & technology faculty. This rigorous review will display the growth and development of
the student through their training and coursework.
55
Revised July 9, 2015
BE SURE TO CONFIRM COURSES FOR REGISTRATION WITH PROFESSOR EACH
SEMESTER.
MFA Design Technology: Tech: Proposed Program od Study rev 4.26.13
Stage Management - First Semester
Course Name
Thea 5517A Professional Stage Management
Thea 5514 History of Design and Technology I
Thea 5500RA Theatre Collaboration
Thea 5517 F Production Management (even years)
or E Union Contracts (odd years)
Thea 5592A Seminar on Stage Management Practice
Thea 5500RB Theatre Collaboration
Total
Stage Management - Second Semester
Course Name
Thea 5517B Professional Stage Management
Thea 5515R History of Design and Technology II
5500RC Theatre Collaboration
Th 5517 D (even years-3) Opera Stage Management
or C (odd years-2) Equity Asst SM
Thea 5--Theatre History (three year rotation)
Thea 5592B Seminar on Stage Management Practice
Total
Stage Management - Third Semester (Summer)
Course Name
Thea 5597 Repertory Theatre: Internship
Stage Management - Fourth Semester
Course Name
5500RD Theatre Collaboration
5-- Theatre History or Text Analysis or Dramatic Lit
Elective: Scene Design, Costume Design or History,
Lighting Design, Directed Grad Study,
Audio Recording Techniques, Directing
Thea 5517 F Production Management (even years)
or E Union Contracts (odd years)
Thea 5592C Seminar on Stage Management Practice
Total
Stage Management - Fifth Semester
Course Name
Thea 5500RE Theatre Collaboration
5-- Thea History or Text Analysis or Dramatic Lit
Elective: Scene Design, Costume Design or History,
Lighting Design, Directed Grad Study,
Audio Recording Techniques, Directing
Th 5517 D (even years-3) Opera Stage Management
or C (odd years-2) Equity Asst SM
Thea 5592D Seminar on Stage Management Practice
Total
MFA Design Technology: Tech: Completed Program of Study
# of
Credits
3
3
1
2
Course Name
Semester
Hours
Theatre
Management I
1
1
11
# of
Credits
2
3
1
2 or 3
Theatre
Management
II
3
1
12 or 13
# of
Credits
6
# of
Credits
1
3
3
2
1
10
# of
Credits
1
3
6
2 or 3
1
13 or 14
56
Grade
Revised July 9, 2015
5590J - Stage Management (PA or SM assignment)
5590L - Thea Management (teach SM II)
Stage Management - Sixth Semester (Summer)
Course Name
Thea 5697 Repertory Theatre: Residency
# of
Credits
6
Master of Fine Arts: Design & Technology - Design
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
MET?
60 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific
area
36 hours (60% of 60 hour total) must be 5500 or higher, not Independent Study
12 hours of the 60 hour minimum must be history or literature courses
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no Incomplete on record)
Final examination/Portfolio review
DATE:
Proposed Program of Study:
Final degree audit by Advisor:
See attached final exam form.
Student Signature
Date:
Student Signature:
Date:
Advisor Signature:
Date:
Advisor Signature:
Date:
57
Revised July 9, 2015
The Masters of Arts Program
The M.A. degree in Theatre is a research-oriented degree that will prepare the student for admission to
Ph.D. programs while facilitating entrée to theatrical practice through dramaturgy. Two areas of
emphasis are offered.
The THEATRE HISTORY/DRAMATIC LITERATURE track takes advantage of graduate courses in
Theatre History and Text Analysis as well as certain graduate-level courses in other departments at
UMKC. The study and practice of dramaturgy is an attractive option for involvement in theatre
production. Students who complete the M.A. degree with this emphasis area are fully prepared to go on to
a Ph.D. program in Theatre. A thesis is required to complete this degree.
The PLAYWRITING track may include certain graduate-level courses in screenwriting from the
Communications Studies and English Departments as well as Department of Theatre courses in
Playwriting. Besides building a portfolio of plays, the playwright has special opportunities for
involvement in theatre production through dramaturgical work. The M.A. candidate with a focus in
Playwriting may submit an original “full-length” play as a special thesis option under guidelines
established by the School of Graduate Studies.
REQUIREMENTS FOR ADMISSIONS
1. Admission to the UMKC School of Graduate Studies.
2. Acceptance by the Head of the Master of Arts program.
3. A B.A. in Theatre from a recognized university or college. A student having a B.A. in
another discipline may be admitted with a minimum of 18 hours in theatre courses. A student
who does not have 18 undergraduate hours in theatre may make up the deficiency by taking
Theatre courses at UMKC. These courses will not be credited toward the requirements for
graduation in the M.A. degree unless approved by the Head of the Master of Arts program.
REQUIREMENTS FOR GRADUATION
1. A minimum of 36 hours beyond the B.A. degree.
2. At least 18 of these hours must be in 500 level courses.
3. At least 21 of these hours must be taken in the Theatre Department, including at least 6 hours
of Theatre History/Dramatic Literature and 6 hours of Research and Thesis.
For the Theatre History/Dramatic Literature track, the 6 hours of Research and Thesis will
culminate in the submission of a thesis and an oral examination.
For the Playwriting/Dramaturgy track, the 6 hours of Research and Thesis will culminate in
the submission of a “full-length” play, a public reading or staging of the play, and an oral
examination.
4. No more than 12 hours of 300-400 level courses may be counted toward the degree.
Graduate students enrolled in these courses are expected to do work beyond that expected of
undergraduates, both in quality and in quantity.
5. No more than 40 percent of the program of study may be devoted to special project courses
like Theatre 400 and 590.
6. Graduate and undergraduate courses taken for graduate credit outside the department must be
approved by the head of the Master of Arts program.
7. A graduate grade point average of 3.0 (B) should be maintained. No 300 or 400 level
courses will be accepted for graduate credit if the grade is lower than B.
58
Revised July 9, 2015
1.
2.
3.
4.
5.
6.
SPECIAL PLAYWRITING/DRAMATURGY
THESIS OPTION FOR M.A IN THEATRE
The play must be a “full-length” work; that is, of sufficient scope to merit theatrical
presentation for a paying public without supporting events to accompany it.
The play must be typed in the standard format of professional playscripts, including lists of
characters and scenes.
Because of casting, technical, and budgetary variables, production of a thesis play cannot be
guaranteed by the Theatre Department. However, if the play is not produced before its
submission, it must be given a reading that will be open to all Theatre students and faculty. A
public or private critique session following that reading will be at the discretion of the
candidate’s thesis committee.
The final version of the play must be read by all members of the thesis committee, all of
whom must certify the play’s stageworthiness. Literary merit alone will not suffice.
The text of the play must be preceded by a critical introduction that will place the work in
contemporary and historical perspective and will address the author’s goals and intent.
The style/format of the frontal section (title page, abstract, introduction, etc.) will conform to
Turabian and to the School of Graduate Studies Memorandum on Graduate Theses and
Dissertations.
OTHER INFORMATION
For priority consideration for Fall 2007 admission to the Master of Arts in Theatre program,
UMKC application and transcripts must be received by the UMKC Admissions Office and
supplemental application materials must be received by Dr. Londré NO LATER THAN
MARCH 1, 2007. Late applications (and applications for Winter 2007 admission) will be
considered only if the program has not exceeded its enrollment limitation. In the event that there
are openings for Winter 2007, application materials must be received no later than November 1.
Students entering the M.A. program may be asked to take a diagnostic examination in order to
determine academic deficiencies and enable faculty to consult more effectively on planning the
student’s program. Any deficiencies in undergraduate work must be made up in the first
semester of graduate work if possible, but no later than the first year.
In order to continue enrollment in the Master of Arts in Theatre program, a student must
maintain a Grade Point Average of 3.0 or higher.
59
Revised July 9, 2015
UNIVERSITY O F MISSOURI-KANSAS CITY
KANSAS CITY, MISSOURI 64110
School of Graduate Studies
MASTER OF ARTS PROGRAM OF STUDY
In consultation with the adviser, the student should initiate this application, secure the approvals
indicated below, and present to the Dean or Graduate Officer for processing
REVISED 4.27.13
prior to complettion of 15 hours applicable to the degree program.
NAME (PRINTED OR TYPED)
STUDENT IDENTIFICATION NUMBER
Master of Arts
CURRENT ADDRESS
DEGREE SOUGHT
Theatre
CITY, STATE
ZIP CODE
DEGREE PROGRAM & EMPHASIS AREA
Colleges and universities attended and degrees received (give dates):
PROGRAM OF STUDY
ACADEMIC REQUIREMENTS:
36 HOURS minimum, over and above undergraduate prerequisites for graduate work in specific
area
including: 21 of the 36 hour minimum must be Theatre courses
6 hours of the 36 hour minimum must be history or literature courses
6 hours of the 36 hours mininum will be Thea 5599 Research and Thesis
18 hours must be 5500 or higher, not Independent Study, not 5599 Research/Thesis
One grade of C allowed in the 60 hours minimum; other grades must be B(-) or higher (no "I" on
Master of Arts
MET?
record)
FINAL THESIS EXAMINATION is
required.
THESIS is required. TITLE:
NUMBER
TITLE
See attached final exam
form.
DATE:
HOURS
GRADE
NUMBER
TITLE
HOURS
GRADE
NAST documentation - reviewed during re-accreditation by National Association of Schools of Theatre
Specify your title, theatre, play, director, month/year
Production assignments
APPROVALS
SUPERVISORY COMMITTEE
Dr. Felicia Londré, Committee Chair
60
Revised July 9, 2015
DATE
, Grad
Faculty
, Grad Faculty
DATE
DATE
Student signature
Advisor signature
DATE
DATE
Tom Mardikes
DATE
DEPT CHAIRPERSON (A&S) OR DEAN (PROFESSIONAL SCHOOL)
DATE
Associate Dean, College of Arts and Sciences
DATE
61
Revised July 9, 2015
A LISTING OF COMPLETED MASTER OF ARTS THESES
Copies are available through UMKC Miller Nicholas Library.
Alyson Germinder, 2015, “The Merchant of Venice in the 21st Century: A Dramaturgical Case Study”..
Margaret Shelby, 2015, “Bloodlines: A Thesis Play”. Danielle Trebus, 2015, " The Coterie Theatre:
Transition from Children’s Theatre to Theatre for Young Adults, 1991-2014”. Anthony Bernal, 2014,
“Theatre for Young America: A History”. Kristen Janke Hennings, 2014, “StoneLion Puppet Theatre: A
Working History of an Ever-Changing Theatre Company”. Stephanie Demaree, 2014, “Battle of the
sexes onstage: Explorations of changing gender roles by four American women playwrights of
the 1910s - 1930s”. Benjamin Fleer, 2014, “The Application of Jungian Archetypes to the
Analysis of Characters in Three Early Plays by W.B. Yeats”. Aaron Douglas Roose, 2013, “The
Technical Director: The History, The Legacy, and A Glimpse Behind the Curtain”. Peter Jon
Bakely, 2013, “ JET PROPULSION: A Play about Jack Parsons”. Jason Bauer, 2013,
“Community of Theatre: Function of Theatre in Society”. Ruth Estrella Cordero, 2013, “Black
Messianism in Selected Plays by August Wilson”. Robert Fletcher, 2013, “LION (a thesis play)”.
Tracy Lynn Terstriep-Herber, 2013, “The Life Behind Literature to Life: A History and
Narrative of Wyn Handman, The American Place Theatre, and Literature to Life”. Andrea Jane
Anderson, 2012, “Nashville Community Theatre: From The Little Theatre Guild to The
Nashville Community Playhouse”. Amanda Jan Boyle, 2012, “Laurie Brooks: A Coterie of Plays
and Concepts”. Vanessa Marie Campagna, 2012, “(In)Visible: Performances of Gay and Lesbian
Dramatic Literature on the American Stage from 1900 to 1969”. Jacquelyn Nicole Floyd, 2012,
“Toby Dick Ellis: Richard Elsenpeter’s Career in Tent Repertoire Theatre, Television, and
Marionette Puppetry”. Rebecca Helene Rubino, 2012, “Connecting the Dots: A History of
Stephen Sondheim’s SUNDAY IN THE PARK WITH GEORGE”. Erin De Seure, 2011, “Living
and Acting in Kansas City versus Southern California”. Megan Baker, 2010, “Joanna Baillie in
Context: An Exploration of the Theory in the Plays on the Passions and Efficacy of the Dramas
within that Series”. Tanya Barber, 2010, “Theatre WITH HEART: a History”. Thomas
Czerkawski, 2010, “Opposing Images in the Plays of Tadeusz Różewicz”. Bobbie Jeffrey, 2009,
“British and American Approaches to Shakespeare: A Selective Study”. Steven Bartkoski, 2009,
“The Grand Opera House: The Fascinating Story of Kansas City’s Longest Standing Theatre”.
David Edward Coley, 2008, “Beyond Mortal Man” (play). Ryan Michael Kincaid, 2008, “Billy
and the Two Clefs” (play). Debbi Jo McMillan, 2008, “Orthodoxy to Heterodoxy: The Spiritual
Transformation of William Butler Yeats in the Three Early Plays”. Ashley Nicole Swetnam,
2008, “A Natural Stage: A History of Theatre in Arkansas”. Rodney R. Donahue, 2007,
“Heading Off Hawaii” (play). Andrew Phillip Pierce, 2007, “The University of Missouri-Kansas
City Charrette: A New Approach to Theatre Training.” Scott Cox, 2006, "Buck Hoss: A modern
adaptation of Euripides' BACCHAE." Stephanie Kelman, 2006,"Arthur Wayland Ellison: A
Kansas City Actor." Cynthia Puppel Stofiel, 2006, “Gods and Goddess: A Stage Play Based on
an Incident in the Life of John Steinbeck.” Katrina L. Darden, 2005, “An Analysis of Euripedes’
Play The Bacchae.” Rebecca Lynn Martin, 2005, “Robin Humphrey: The Teaching Artist.”
Wen-chi Yu, 2004, "Mei Lan-frang and His Audience, including a Consideration of His
Cooperation with Qi Rushan." Kay Roberts Kuhlmann, 2004, "Stageworthy and True: A
Collaborator's Guidebook to Creating Historical Theatre on Myriad Sites." Joey Condon, 2004,
"The Interrelationship of Church and Theatre Exemplified by the Manhattan Church of the
Nazarene, the Lambs Club, and the Lambs' Theatre Company." Ellen Loschke, 2004,
"KeyWhole," a thesis play. Thomas Edward Davis, 2004, "Garland Wright and K: Impressions,
Reactions, and the Ensemble." Kara Armstrong, 2004, "Women of Kansas City: Theatre
Mentors." Su Jin Kang, 2003, "Sculptress of Life: Eleonora Duse and Her Plasticity." Rosemarie
Woods, 2003, "Latina Playwrights and Cultural Identity: Two Views from North and South of
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the Border." Melissa J.A. Carle, 2002, "Reading the Chaos: Dramaturgical Studies of Patriarchy
in Shakespeare and His Heroine-Oriented Comedies." David White, 2001, "Desertdreams," a
thesis play. Saejoon Oh, 2000, "A Study of the Absurd in Albert Camus's Early Plays." Anne C.
Einig, 2000, "Dr Patricia McIlrath, Founder and Artistic Director of The Missouri Repertory
Theatre." Anna Wheeler Gentry, 1999, "American Lyricist E. Y. Harburg: Origins and Evolution
of Russian and Yiddish Influences." Catherine Browder Morris, 1998, "The Song Sparrow," a
thesis play. Kathleen Shaw, 1998, "In a World of Suits, I Wore a Dress: Madam C. J. Walker," a
thesis play. William Douglas Powers, 1997, "The Dybbuk: Between Two Worlds." Anthony
Nugent, 1997, "Bonds Beyond Egypt," a thesis play. Christopher Brady, 1997, "Persephone," a
thesis play. Dan DeMott, 1996, "Life After Charity," a thesis play. Larry Michael Woods, 1995,
"Draw the Line," a thesis play. Alessandra Paloschi, 1994, "The Tradition of Collective Creation
in Twentieth-Century Theatre as Expressed in the Work of Peter Brook, Megan Terry, and
Ariane Mnouchkine." Patricia McCarty, 1994, "For the Sake of Love," a thesis play based on the
life of Dorothy Day. Carol Banks, 1994, "Beyond Lady Gregory: Four Contemporary Irish
Women Playwrights." Mari Pappas, 1993, "Creating Creators: The Development of Jacques
Copeau's Creative Personality as Revealed in His Personal Journal." Tim Treese, 1990, "The
Machine Aesthetic in 20th-Century Theatre." Lori L. Triplett, 1988, "Jessie Bonstelle: A
Biography." Rebekah Presson, 1987, "But He's My Brother," a thesis play. Diane Nicolini, 1983,
"Clyde Fitch and American Naturalism." Roger Rowlett, 1982, "Heart of America/Kansas City
Stakes," a thesis play about the Mary McElroy kidnapping.
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General Academic Information
FINAL UNDERGRADUATE TRANSCRIPTS
UMKC Admissions requires submission of official transcripts for all college hours taken (even if
taken while you were in high school). You must also have on file a final transcript with your
undergraduate degree posted. You are given one semester grace period. After that, YOU MAY
BE HELD FROM REGISTERING IF ALL TRANSCRIPTS OF COLLEGE LEVEL CREDIT
AND UNDERGRADUATE DEGREE EARNED ARE NOT ON FILE with the Admissions
Office.
CURRENT CONTACT INFORMATION
Please update any change in your contact information immediately. Your major professor, stage
manager, production office and Cindy Stofiel, Academic Advisor, in PAC 120, x6683, should
have phone number(s) and e-mail address(es). These data as well as your street address may be
update on Pathway for the UMKC Office of Records and Registration.
ADVISEMENT AND REGISTRATION
Check online: Pathways for semester course offerings.
1. Students are e-mailed a list of classes from Academic Advisor Cindy Stofiel,
stofielc@umkc.edu. Verify with your major professor.
2. You can register on-line through Pathways, UMKC Central at Atterbury Success Center, or
at the Registration Office, Administrative Center. Instructions can be found on-line. For
assistance see, Academic Advisor, Cindy Stofiel, PAC 120, x6683.
PRIOR TO REGISTERING YOUR THIRD YEAR (OR SECOND TO LAST SEMESTER),
SEE Academic Advisor FOR A GRADUATION APPLICATION and PROGRAM OF STUDY
GRADUATION CHECK.
ADD/DROP PROCEDURES
Check the online academic calendar www.umkc.edu/registrar for addition and withdrawal dates. If
signatures are needed:
1. Obtain a change of enrollment form on-line or from Academic Advisor.
2. Obtain the signature of your advisor and, if necessary, the instructor and the Associate Dean.
3. Take the form to the registration office in the Administrative Center or fax x5513.
Additions: If you want to enroll in an additional course after normal registration, you may do so
during the first week of a semester provided you have the approval of your advisor.
Withdrawals: You may withdraw from a graduate level course any time prior to the first day of
the final examination period; however, you must obtain the permission of the instructor and your
advisor. After mid-semester, you will be academically assessed
“W” –withdrawn passing or “WF” –withdrawn failing.
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ELECTING GRADUATE AND UNDERGRADUATE COURSES
Courses numbered 500 and above are categorized as graduate level courses. Please consult the
“General Graduate Academic Regulations and Information” section of the UMKC Catalog for
grade point average and minimum course grade requirements.
Courses numbered 300 to 499 are categorized as upper division junior-senior level courses,
which may be taken for graduate credit and applied toward a graduate degree if approved by
your advisor. The following conditions will also be in effect:
1. The course must be completed with a “B” grade or better to be applied to your degree
program (i.e. the 60 credits needed for MFA graduation; 36 hours for MA).
2. The total combined number of acceptable 300-499 level and independent study courses
that may be applied toward your degree program may not exceed 24 credit hours required for
the MFA degree; 12 hours required for the MA program.
3. You may be expected to do supplementary work (e.g. additional reading, projects, papers,
contact hours with the instructor or laboratory hours) to demonstrate graduate level
competency and achievement in the subject.
THEATRE COLLABORATION 500 RB-RF
On Mondays, as scheduled, from 12:00 – 12:50, a program-wide Theatre Collaboration class
meets, generally in PAC 119 unless otherwise posted. The class is led by the Chair of UMKC
Theatre, Tom Mardikes, and includes students, faculty, allied artists, special guests and staff.
Student attendance is encouraged.
This meeting allows for coordination of efforts, problem identification and resolution. Prior to
the opening of a production, the time may be used for director, designer, technical, dramaturgical
and actor presentations and discussion. At other times, guest speakers will be presenting. On
occasion, assigned reading is discussed.
Your major professor will advise you in what semester you should register for the class and
his/hers grading criteria. A syllabus is distributed at the beginning of each semester.
INDEPENDENT STUDY COURSES
The Department of Theatre offers courses in directed studies (Theater 5590), individual
performance studies (Theater 5520), special problems (Theater 400), and independent research
(Theater 5598R and 5599). Registration procedures are:
1. Obtain consent from and design the course of study with the instructor.
2. If necessary, obtain a Pathway class permission from Academic Advisor before registering
for the class.
The following restrictions apply:
1.
No more than one 400 and one 590 may be elected each semester.
2. No more than 3 credit hours of 400 or 590 may be taken with one instructor.
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3. A maximum of 6 credit hours may be taken in each of the courses listed above.
4. No more than 40% of your program may consist of a combination of courses in this category
plus 300-499 courses. The total combined number of acceptable 300-499 level and
independent study courses that may be applied toward your degree program may not
exceed 24 credit hours required for the MFA degree; 12 hours required for the MA program.
TRANSFER CREDIT
If you have earned graduate credit hours at another recognized graduate school, UMKC allows
you to transfer up to 20 % of the total graduate hours appearing on the program of study (12
graduate credit hours for the 60 hour MFA; 7 hours for the 36 hour MA) toward your program of
study if the following conditions are met:
1. The course work was offered by an accredited school, was applicable toward a graduate
degree at the school, and was taken for graduate credit.
2. A grade of “B” or better for undergraduate upper level courses and “C” or better for graduate
level courses was earned.
3. The course work is reviewed for inclusion into your planned program by your advisor. The
Department must then submit these courses to the School of Graduate Studies at UMKC for
approval. THESE TRANSFER CREDITS MUST BE APPROVED BY Vice Chancellor
at the School of Graduate Studies before faculty can grant credit.
4. Transfer credit will not be accepted for research and thesis/performance hours, travel
experience, correspondence courses, work-life experience, and courses used to earn another
graduate degree (i.e. an MA in theatre).
GRADING SYSTEM
The grading and grade point system used at UMKC is as follows:
A
AB+
B
BC+
4.0 points per semester hour
3.7 points per semester hour
3.3 points per semester hour
3.0 points per semester hour
2.7 points per semester hour
2.3 points per semester hour
C
CD+
D
DF
2.0 points per semester hour
1.7 points per semester hour
1.3 points per semester hour
1.0 points per semester hour
0.7 points per semester hour
0.0 points per semester hour
You must obtain a “B” or 3.0 grade point average to remain enrolled in the MFA/MA degree
program (see “Graduate Probation Policy” in UMKC catalog available on-line). This means
only one C grade can be allowed on your program of study. Consult the UMKC Catalogue
for minimum grade standards for a course to count toward graduation.
Incompletes and Cs may contribute to Unsatisfactory Academic Progress and result in
ineligibility to enroll or qualify for financial aid.
Incompletes are strongly discouraged** and only given at the discretion of the instructor. The
following restrictions apply:
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1. You have one calendar year to complete the required work or elect to withdraw. If you do
not complete the work or withdraw, the “I” grade will become an “F” grade.
2. You may not re-enroll in a course for which an Incomplete grade remains on your record.
** Actors please read “New York Showcase” re: incompletes at the beginning of fifth semester.
PLAGIARISM
Plagiarism is unacceptable and is defined by the UMKC Catalog as follows:
1. The term plagiarism includes, but is not limited to:
(i)
use by paraphrase or direct quotation of the published or unpublished work of another
person without fully and properly crediting the author with footnotes, citations or
bibliographical reference;
(ii)
unacknowledged use of materials prepared by another person or agency engaged in the
selling of term papers or other academic materials; or
(iii)
unacknowledged use of original work/material that has been produced through
collaboration with others without release in writing from collaborators.
See http://catalog.umkc.edu/ for the catalogue section on student misconduct. Academic
penalties may be assessed.
GRADE APPEAL PROCESS
See UMKC Graduate catalog available on-line.
PROBATION POLICY AND PROCEDURE
Graduate students on probation who are not restored to good academic standing by the end of
two successive semesters following the term in which the cumulative GPA fell below 3.0 will be
declared ineligible to re-enroll. Graduate students may present a petition for re-enrollment to the
principle graduate advisor of the student’s degree program. For more information on graduate
requirements for retention, please refer to the University of Missouri – Kansas City General
Catalog at: http://catalog.umkc.edu/ .
YEAR ONE EVALUATION
The Department of Theatre requires that at the end of the first year – or sooner at faculty
discretion, all first year students in the MFA degree program are evaluated in conference by the
appropriate faculty in Performance or Design and Technology. They will recommend and rate
the student as “continue,” “discontinue,” or “probation” to the Chair of UMKC Theatre. The
student’s faculty advisor is responsible for communicating the decisions and recommendations
of the faculty. The Performance Faculty also conducts evaluations at the end of each semester for
the first two years.
If the recommendation is to “discontinue” the student in the program, and that recommendation
is approved by the Chair of UMKC Theatre, a recommendation will be made to the Dean of
Graduate Studies that you be re-classified or declared ineligible for further study. The Dean of
Graduate Studies reviews the recommendation and conveys a decision to the Department and
registrar’s office, who will notify the student of this action.
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If the recommendation is “probation,” irrespective of the student’s grade point average, the Chair
of UMKC Theatre will be informed and then will approve or disapprove. The student will be
evaluated again at the end of the next semester in which the student is enrolled. If “probation” is
still the recommendation, it will mean an automatic “discontinue.”
According to university policy if a department, despite the student’s grade point average,
considers a graduate student’s performance as unsatisfactory, that department may recommend to
the Dean of Graduate Studies that the student be declared ineligible for further studies.
RE-ADMISSION POLICY
The Office of Admissions Request for Re-enrollment form is NOT applicable to the graduate
UMKC Theatre MFA and MA programs. Any student who is absent for a Fall or Winter
semester must complete another UMKC application form and submit the application fee so that
the application passes through the major professor in the appropriate area for a re-admission
decision.
GRADUATION REQUIREMENTS
Three forms are required for awarding of your degree:
1. One year prior to graduation, report to Cindy Stofiel, Academic Advisor, to get an 1)
application for graduation form. See “Last Day to Apply for Graduation” deadline in the
academic calendar for each semester.
2. Submit a schedule of proposed classes for the third year of study.
3. Make sure you have no incompletes.
4. Sign the 2) Program of Study. This form is used by Records to complete your graduation
check.
5. Portfolio review is required for Design/Technology and Stage Management students; final
examination is required for Actors; final thesis examination and thesis submission is required
for MA students. A 3) Final Examination Form completed and signed by your committee is
submitted to the Records Office.
CONTINUOUS GRADUATE ENROLLMENT REQUIREMENT
After completing all courses included in the planned programs or plans of study for degrees, all
degree-seeking graduate students must remain continuously enrolled in each regular semester
(fall, spring) up to and including the semester in which their degrees are awarded. This
requirement applies also to the summer term for students whose degrees are being awarded at the
end of a summer term. This continuous enrollment must be for a minimum of one-hour credit in
research and thesis, research and dissertation, or other work designated by the department or
school. When no suitable credit registration is available, or when students have previously
enrolled in at least the minimum number of 5599 (thesis) or 5699 (dissertation) or equivalent
credits required on their programs or plans of study, students may fulfill the continuous
enrollment requirement by registration in continuous graduate enrollment (5899) for zero credit
hours. Interruption of continuous registration due to failure to comply with this requirement will
result in the need for readmission under requirements then in effect. Academic units may require
retroactive enrollment as a condition of readmission.
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BALANCING CLASSROOM AND PRODUCTION RESPONSIBILITIES
The UMKC Theatre faculty is committed to a teaching hospital model of professional training.
As such, both scholarly and applied endeavors are valued and encouraged - neither more nor less
than the other. Every effort is made to avoid conflicts between classroom and production
schedules. However, there are times, especially during tech week prior to production, when
conflicts are unavoidable. Should a student find him/herself with a conflict, it is his/her
responsibility to communicate with faculty and production crew to resolve the issue.
1) Consult with your major professor and devise a strategy for dealing with the conflict.
2) If you will be absent from a class or work call, inform your instructor or supervisor of
the plan on which you and your major professor have settled.
3) Arrange to fulfill your missed obligations as soon as possible. Failure to do so may
lead to penalties which would not otherwise be assessed.
This is an honor system in which it is assumed students will not abuse absences or grace periods.
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Policies and Procedures for Productions
ACTING AND STAGE MANAGEMENT
AUDITIONS
Auditions are open to all students, excepting first semester MFA acting students. Fall semester
production auditions are held at the end of the previous school year or during or near the week
prior to the start of the semester. Auditions for winter semester productions are held toward the
end of the fall semester. The season is posted outside the production manager’s office, Room 121
in the PAC. The sign up sheet for audition times is posted outside of Room 115 in the PAC for
both audition sessions one week prior to auditions. Students should prepare a monologue no
longer than one and one-half minutes from one of the shows being performed that semester.
Scripts may be checked out from the production office, Room 115 in the PAC.
DUTIES AND RESPONSIBILITIES OF THE ACTOR
The actor agrees to be prompt to all calls, to appear at the theatre no later than one-half hour
prior to the performance, to pay strict attention to make-up and dress, to perform services as
reasonably directed and sustained by the stage manager, to conform to the language of the script
to the best of his ability, to care for costumes, performance and rehearsal spaces, and to abide by
all rules and regulations of UMKC. Repeated lateness or other infractions of rules will subject
the actor to disciplinary proceedings.
DUTIES OF THE STAGE MANAGER
The stage manager agrees to run rehearsals efficiently, technical rehearsals and performances. To
this end the stage manager will take blocking notes, coordinate weekly production meetings with
the production manager, director and designers, assign crew and backstage responsibilities,
prepare and maintain a correct production book with all blocking and cues and enforce all the
guidelines for rehearsal periods and performance as listed in this handbook.
CAST REPRESENTATIVES
A cast deputy will be elected on the first day of rehearsal by majority vote. The duties of the
deputy include notifying the stage manager; director (if faculty) or faculty facilitator; and/or
Department Chair of any infractions or problems with the rehearsal or production.
Any production utilizing extensive choreography will have a dance captain appointed by the
choreographer no later than two weeks prior to the first performance. In productions utilizing
fight choreography, a fight captain will be appointed. The fight captain will be appointed in the
same way as the dance captain and his duties will be to aid and make sure the fights remain safe
and intact during performance. A fight call is required prior to each dress rehearsal or
performance.
GUIDELINES FOR REHEARSAL PERIODS AND PERFORMANCE
The total rehearsal period for one departmental production will not exceed six (or, in the case of
development productions, eight) weeks. For productions which are considered a class project, or
rotating rep productions, the time may vary.
The total work week, Monday through Sunday, will include one day off, except for tech week.
Rehearsals may not go past eight consecutive days without a day off, the exception being tech
week, where, at the discretion of the director and production manager, the length of time between
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days off may be extended. Unless circumstances prohibit, i.e. actors in two shows, the day off
will be Sunday.
When classes are in session, Monday through Friday, rehearsal may not exceed a total of four
hours per day for second year MFA productions and, when appropriate, seven hours per day for
third year MFA productions. (Rehearsal hours for third year actors will generally occur between
the hours: 2-5pm and 7-11pm.) Rehearsals scheduled when class is not in session, and Saturday
and Sunday rehearsals may not exceed eight hours per day, except during technical rehearsals,
and rehearsals will conclude by 11pm; except on Saturday and Sunday when rehearsals may go
to midnight. Two to four technical rehearsals of ten out of a consecutive twelve hours are
allowed for each production. Tech rehearsals may not go past 12 am, including changeovers.
There will be a break of no less than one and one-half hours after five hours of consecutive hours
of work. The cast deputy may reduce this break to one hour provided there is a two-thirds
majority vote amongst the company.
Except during run-throughs and dress rehearsals, there will be a break of five minutes after no
more than fifty-five minutes of rehearsal, or ten minutes after no more than eighty minutes of
rehearsal for each member of the company.
During the regular rehearsal schedule, there will be at least one daylight day of rest following the
closing night of any departmental production prior to the first rehearsal of another departmental
production. This is applicable only to those associated with both productions. A daylight day of
rest ends at 7 pm.
No one may be called for rehearsal during regular scheduled class or GTA teaching time, except
during technical rehearsals prior to opening. In such emergencies, it will be the responsibility of
the GTA to arrange to have the class taught by the assistant, or faculty advisor. Should the
GTA’s teaching schedule end concurrently to his/her rehearsal call, the actor is guaranteed the
fifteen minute break prior to rehearsal, and a one hour food break prior to the teaching
assignment. These are the rehearsal guidelines. Any exception must consider and be based on the
well-being of the actor.
Photo calls may not last past one hour following the end of a performance. However, photo calls
may be scheduled before a performance and may last 3-4 hours.
Following the last performance of each production, the entire cast and crew are required to
participate in strike. There will be a fifteen minute break immediately following the close of the
show for the cast and crew prior to the beginning of strike. Strike may not last past 1 a.m. (due
to some evening strikes). The technical director of the production is responsible for organizing
strike. The technical director and stage manager will work together to make actor strike
assignments and supervise the strike.
The Actor’s L.O.R.T. Equity Handbook should be used as a reference point for all matters not
directly covered by this handbook. A copy of the Equity Handbook can be found in the
production office, Room 115 of the PAC. Any disputes not able to be resolved by the stage
manager should be brought to the attention of a designated member of the performance faculty.
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PRODUCTION PHOTO GUIDELINES
Photo calls may not last past one hour following the end of a performance. However, photo calls
may be scheduled before a performance and may by longer than one hour, but no longer than 4
hours. There is a ½ hour call for all actors.
DESIGN/TECHNOLOGY STUDENTS: If you do not wish to shoot the production yourself,
you may request a copy of the photos taken for the archives. The photos will be provided on a
disk. It is up to you to get them printed. Send requests to pflughaupts@umkc.edu .
ACTORS’ PHOTOCALL, Photos will be used for UMKC Theatre Archives and may be pulled
for use in future Theatre Training News publications, articles, season brochures, marketing/PR
etc. You may request a copy of the photos taken for the archives from TBD. The photos will be
provided on a disk. It is up to you to get them printed. Send requests to pflughaupts@umkc.edu .
PLEASE DO NOT WAIT UNTIL THE END OF THE YEAR OR SEMESTER AND EXPECT
TO HAVE PHOTOS READY AT THE LAST MINUTE. Please allow a 2 day window for
Sharon to complete the request.
GUIDELINES FOR PROGRAM BIOGRAPHIES
UMKC Theatre began including student bios in production playbills during the 04-05 season.
This is an opportunity for students to present themselves professionally in a professionally
written bio. We use the programs for recruitment as well so the bios should reflect the highest
standard of professionalism.
Below are a few guildlines for writing, submitting and proofing your bio:
WRITING YOUR BIO:
 Bios are requested from:
o ALL actors
o Designers and assistants (Scenic, Costume, Lighting, Sound Designers, Musical Composer,
Dramaturg, Technical Director, and Choreographer)
o SM and ASM
o Director

100 words or less

Shout-outs
o Remember that these are student productions in training for professional theatre.
Ask yourself, “Would I publish this in a professional theatre program?”
 Published: “Special thanks to my husband for his support.”

Not published: “I would like to give a shout out to the monkey in the cast
and to the crazy sex goddess. You know who you are!”
 Correct listings for area theatres:
None of the theatres listed below include “The” in the theatre name.
o Coterie Theatre
o Heart of America Shakespeare Festival
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o Kansas City Actors Theatre (no apostrophe for “Actors”)
o Kansas City Repertory Theatre (unless the show was staged before the 05-06
season, in which case it would be listed as Missouri Repertory Theatre)
o New Theatre Restaurant
o Unicorn Theatre

Bio SAMPLE below.
o List your name, then character name
 EX. Amy Lewis (Amalia Jennings LaFarge) is a 3rd-year...
o List your year in the numeric form, with hyphen (3rd-year), not written out (third
year).
o If you are listing “MFA”, please list with periods. ie M.F.A.
o List all shows in italics.
 Please do NOT use “quotes”, all CAPS or BOLD.

BIO SAMPLE: remember only 100 words or less
Amy Lewis (Amalia Jennings LaFarge) is a 3rd-year graduate acting student. She has
played Gwendolen in The Importance of Being Earnest, Kara in Smoking Kills, Isabelle and
Wife in The Molière One Acts, Suzanne in Picasso at the Lapin Agile, Helen in Good,
Chorus in Henry V, and Rosalind in As You Like It at UMKC Theatre. This summer she
played Helen in The Cripple of Inishmaan, Kansas City Actors Theatre inaugural production.
She has also understudied in Little Women and The Voysey Inheritance at Kansas City
Repertory Theatre.
SUBMITTING YOUR INFORMATION:
 Please submit your bio by the deadline given by your Stage Manager. This is usually
about 3 weeks before your show previews. This deadline is extremely important and will be
enforced throughout the season. If you do not submit a bio by the given deadline, it will not
be published.

ALL program information should be submitted via Microsoft WORD via EMAIL to
your Stage Manager.

Please submit a bio for each show in which you are involved. The bio can be the same as
the previous show or it can be updated to reflect new information. But YOU must be the one
to resubmitted.
PROOFING PROGRAM:
Because there is so much information in the programs, your help is needed. There are two
opportunities to proof your information.
1. EVERYONE must proof the first round. Please initial next to all locations where your
name and information appears (title page, cast/crew listings, and bios)
 Review the information and edit. At this point, only small changes will be accepted
(spelling, grammar, etc.)
2. On the second round, you proof your information ONLY IF you made edits in the last
round.
3. Your Stage Manager will have the proof available for you to review. The deadline for
edits will be noted on the copy.
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A BIG thank you in advance for helping us successfully publish a complete and
professional theatre program. If you have any questions, please discuss with your Stage
Manager.
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DESIGN AND TECHNICAL GUIDELINES
The University theatre provides laboratories in which students test, practice and perfect
principles and processes learned in the classroom. Design assignments are systematically
graduated in scale and complexity, consistent with the student’s increasing command of the
theatrical medium. Students obtain production experience in each of the University’s
performance spaces including Studio 116 (arena or 3/4 staging), Grant Hall or a co-production
with the Coterie, Unicorn or KC Rep (proscenium or festival staging), Spencer Theatre (thrust or
proscenium staging), and in the television or film studio.
The primary goal of the student in production is NOT to produce plays, but to LEARN HOW to
produce them. Consequently, the program emphasizes process rather than product; the planning
process is closely monitored by faculty and staff supervisors. Designers, technicians and stage
managers discuss works in progress in regularly scheduled design and technology classes, in
production meetings, and in theatre collaboration classes.
Production projects are an important part of the student’s artistic development. Assignments are
made by the student’s major professor in consultation with faculty directors and stage and shop
supervisors. Because student designers and technicians are obliged to achieve and maintain high
standing in academic courses, and because those receiving stipends, scholarships, or tuition
waivers are required to work an additional 10 to 20 hours per week in the shops and on the stages
of the UMKC and the Kansas City Repertory Theatres, it is important that each activity in a
student’s program be carefully planned.
GA RESPONSIBILITIES
A weekly hourly obligation less accurately describes the responsibilities than the total hours
necessary since the work occurs over a short period of time. In reality, the hours necessary are
only an estimate or perhaps more like a guide. The real responsibilities require the complete, safe
and stage-worthy design, construction and technical direction of productions no matter how few
or how many hours it takes.
DESIGN DEADLINES
Design deadlines are established by Production Manager Sadie DeSantis and are to be strictly
maintained and met.
THEATRE COLLABORATION 500 RB-RF
On Mondays, as scheduled, from 12:00-12:50, a program-wide Theatre Collaboration class
meets, generally in PAC 119 unless otherwise posted. The class is led by the Chair of UMKC
Theatre, Tom Mardikes, and includes students, faculty, allied artists, special guests and staff.
Student attendance is encouraged.
This meeting allows for coordination of efforts, problem identification and resolution. Prior to
the opening of a production, the time may be used for director, designer, technical, dramaturgical
and actor presentations and discussion. At other times, guest speakers will be presenting. On
occasion, assigned reading is discussed.
Your major professor will advise you in what semester you should register for the class. Your
journal for the class and attendance are among the factors in his/her grading. A syllabus is
distributed at the beginning of each semester.
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PAC AND GH SCENE SHOP TOOL PROTOCOLS
1) At the end of each work session return all tools to storage whether they be carpentry,
paint, or prop tools. Sweep and clean your work area. Leave the space in better condition
than you found it. Lock all doors and turn off lights.
2) If you take tools out of the shop (excluding its adjacent stage) leave a list on the tool
room door with your name and location. When you return the tools erase or remove the
list.
3) Members of other departments (lighting, sound, stage management, etc.) should not
borrow tools without permission.
4) If you break a tool do not fear repercussions. We would rather know about a needed
repair rather than being surprised by a needed repair. Label the tool prominently
describing the damage and report it immediately to John Owen in the PAC shop or Chaz
Bell in the Grant shop.
5) Do not leave the shops unlocked and unattended especially at night and on weekends.
If you find a shop open and unoccupied please lock it up.
SCENERY AND PROPS
Labor for the construction and painting of productions will be provided by the designer,
technical director, scene shop foreman, scenic artists, scene shop graduate assistant and other
personnel as available. Construction periods are usually 3-4 weeks for productions in Spencer
Theatre, 3 weeks for productions in Grant Hall and for co-productions and 2-3 weeks for studio
shows. Personnel support (especially shop GAs) is limited.
Each production will receive a budget for purchase of materials, and purchase or rental of
properties and equipment. Budgeted amounts may not be exceeded. It is the communal
responsibility of each production’s director, designer, and technical director to work within the
stipulated budget constraints. Consequently, it is extremely important that all concerned are
agreed upon artistic priorities which best serve the text.
Student designers and technicians may have access to props and stock scenery items owned by
The Rep and UMKC Theatre. At the discretion of the technical director of The Rep materials
salvaged from recent Rep productions may be made available to student designers and
technicians.
LIGHTING
The head of the lighting design program will assign and supervise all designers, operators and
electricians. A graduate teaching assistant will support each production as the Master Electrician.
COSTUMES
A designer for costumes will be assigned by the head of the costume design program. Costumes
will be built or pulled and adapted from stock depending upon the play, period, directorial
approach, budget and time available.
If enrollment does not allow a costume designer or coordinator to be assigned, then only costume
pieces which are necessary to the plot and can easily be supplied from the costume shop or stock
can be used. In this case, actors will wear their own costumes, either contemporary clothes, their
own “Old Vic garb,” or tights and leotards.
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SOUND
The head of the sound design program will assign and supervise all designers, operators and
engineers. A graduate teaching assistant will support each production as the Chief Engineer. Use
of sound equipment in each space is flexible and only limited by the needs of other spaces and
the personnel available for installation and testing. Systems designs are to be approved by the
head of the sound program.
Production of show tapes will take place in the fifth floor studios in the Performing Arts Center.
Tape and supply requisitions are to be turned in to the head of the sound program and will be
charged against each show’s sound budget. Some shows will require the use of “pulled” music,
but all productions are encouraged to use original compositions and/or recording.
Generally, first and second year students will design in Studio 116 in PAC. Second and third
year students will design in Spencer Theatre.
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KEYS
GTA KEYS: Faculty e-mail student name, student ID number, and key request(s) to Business
office staff member, Sharon Pflughaupt, pflughaupts@umkc.edu, x6686
If a set of keys is on hand, Sharon will distribute them to you.
If keys have to be ordered, after about a week, Sharon will e-mail you to confirm keys are ready
for pickup. Present picture ID and sign for keys GSB, 51 & Troost, 2nd floor, Facilities Mgmt,
Rm 101.
At graduation, keys MUST be returned to the business office. The department may place a hold
on your transcript and diploma if the keys are not returned.
MAILBOXES
Student mailboxes are located along the wall, first floor PAC, between Studio 119 and Studio
116. Faculty/staff mailboxes are located in 404 PAC by the copier. Mail for the Troost Building
(KC Rep Business Office, Rep Suite) can be sent in the “crossover” mail tray above the fax
machine in 404 PAC. Below that is the US/Campus mailbag. Most of your US mail should be
mailed off campus – it will be processed more quickly that way as well.
LOCKERS
First floor PAC lockers may be checked out from the Academic Advisor, 120 PAC.
COPIER – 404 PAC
Copy codes for the copier in 404 PAC are available from Sharon Pflughaupt,
pflughaupts@umkc.edu, 816-235-6686, 5319 Holmes. Students must obtain permission from
their faculty to receive a code. Use of this copier is intended for GAs, faculty and lecturers for
teaching and design assignments and for stage managers to make initial copies of production
scripts for reproduction at Roo Prints.
This copier is capable of making numerous copies and is much cheaper than outsourcing.
PLEASE NOTE THAT CHARGES FOR SCRIPTS OR REPRODUCTIONS USED AS TEXTS
FOR CLASSES SHOULD BE DIVIDED BY THE INSTRUCTOR AMONG THE
STUDENTS, COLLECTED AND REIMBURSED, and PREFERABLY IN CHECK(S), made
out to the department and turned into the business office, Sharon Pflughaupt. 404 PAC Print
services are NOT intended for personal use, including class notes or other research materials.
PURCHASING
All department purchases should be made using a university issued procard. The only exception
is for those businesses that don’t accept credit cards, however, information for purchasing
through that vendor should be gathered prior to making the purchase. You should have any noncredit card payment authorized by Sharon Pflughaupt, or you may not get reimbursed. A
university check may be issued to pay for such items. Please call the business office at 816-2356686 if there are questions. A student procard may be checked out from 5319 Holmes. It should
be returned immediately with all receipts attached. On the receipt, note the production or purpose
and your name.
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No Sales Tax should be charged to any UMKC purchase. If necessary present a MO or KS sales
tax exemption letter available online, on the PAC dock, or from Sharon Pflughaupt, business
office. If sales tax is charged, YOU are responsible for paying it or returning to the store for a
refund. No exceptions. Out of state purchases may incur sales tax, however, please inquire of the
vendor being before making the purchase and note on the receipt of such an issue.
When making purchases in Kansas, the University is still tax exempt. Please stop by the
Business Office (Sharon) to get a Kansas Department of Revenue Sales and Use Tax Entity
Exemption Certificate if you need one. Under no circumstances do we pay sales tax in Missouri
or Kansas.
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TRAVEL VOUCHERS
University and campus policies for travel are set out in the Business Policy Manual. This
document explains what information is needed in order to pay travel expenses. Although this
document does not establish policy, it has been reviewed and approved by campus management.
These requirements are at a campus level. Departments and divisions may establish other
requirements and restrictions for travel expenses that they will approve, as long as they do not
conflict with system and campus policies.
In addition to a PeopleSoft Non-PO voucher, reimbursements to individuals for travel expenses
must be claimed on an electronic expense report prepared through “myHR”. As appropriate,
direct payments to vendors for travel expenses may be made on a PeopleSoft Non-PO Voucher.
A trip expense detail form must provide both information to clearly show the business purpose of
the travel expenses and documentation to support the expenses claimed. See Sharon Pflughaupt
for help preparing the electronic expense wrote. Typically, reimbursements are not made until
after the event(s) has occurred.
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If there are errors, questions, or incomplete information/documentation on the voucher,
Accounting Services will try to resolve the issues by a phone call or e-mail message. If we are
unable to resolve the issue in this manner, the voucher will be returned to the fiscal officer.
The following information provides guidelines as to what information and documentation is
needed to support the voucher.
Required Information
Traveler's name
Traveler's address - use a campus address if applicable
Empl ID
Purpose of travel - include where, why and when. The "when" should include both beginning
and ending dates (i.e., the time period a meeting or seminar was held). The "why" should clearly
show the business purpose of the travel. Do not use acronyms. Spell out the names of
organizations, etc.
Itemize and total expenses daily.
If expenses are included for an additional person(s) provide the person's name and connection to
the University (i.e., why the University is paying that person's expenses).
Accounting highly recommends that the traveler submit one voucher for each trip.
All electronic expense reports are approved by Chair Tom Mardikes.
Receipts are needed for lodging, expenses over $75, and non-travel reimbursement.
Receipts should be in the name of the traveler. If not, explain why the receipt is in someone
else's name and provide documentation of payment from the traveler to the person named on the
receipt. This documentation can be a receipt acknowledging payment from the traveler or other
proof of payment.
Once the expenses have been approved, you will receive notification that the amount will be
deposited in your checking account. It usually takes 4 business days.
Frequency of Submitting Travel Vouchers
Travel reimbursement requests must be submitted within 60 days after the traveler returns from
the trip. If reimbursement is not requested within 60 days, documentation of the reason for the
delay must be provided. Reimbursement will be subject to the availability of funds and the
department funding the travel will have the discretion of denying reimbursement. If the request
for reimbursement is for an employee and the department determines that reimbursement will be
made, it will be added to the traveler’s taxable compensation to be in accordance with the IRS
federal regulations for employer reimbursements. If the reimbursement request is for a nonemployee and the department determines the reimbursement is appropriate, the department will
complete a travel form, along with a non PO voucher and route to Accounting for payment
through accounts payable with an appropriate explanation for the late reimbursement.
Meals If you are eligible for a meal reimbursement, they should be listed as a $42 per diem each
day, or whatever amount for which you have been approved.
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Lodging
Lodging is reimbursed at the room rate plus taxes and should be reported under the lodging
section of the voucher.
Other reimbursable items such as phone calls, parking, etc. that are included on the lodging
receipt should be included in the "Other" section on the travel voucher. See Other Expenses.
Lodging is reimbursed at the single rate. If more than one person stayed in the room, please
provide an explanation, including the person's name and association to the University (business
purpose).
If there was an additional person(s) in the room who was not on University business,
reimbursement is made at the single rate. Provide the single rate or indicate on the voucher that
the rate charged was the same as the single rate.
The lodging receipt should be an itemized folio that shows daily charges. Indicate on the voucher
if the place of lodging does not provide itemized folios and attach the receipt that they did
provide. If the traveler did not get an itemized folio at the time of check out, contact the hotel to
fax a copy of the folio.
The hotel receipt should be in the traveler's name. If not, provide an explanation on the voucher
and provide documentation of payment from the traveler to the person named on the receipt.
For information on lodging incurred en route to and from the destination while traveling by
personal vehicle see section on "Election to Drive Personal Vehicle".
For information on lodging provided by travel packages see section on "Travel Packages".
Other Expenses
Other reimbursable expenses include business telephone calls, fax charges, computer charges,
parking, shuttle, road tolls, etc. Provide an explanation as to the business purpose of these
charges.
Expenses of a personal nature such as movies, laundry, health club, etc. are normally not
reimbursable expenses.
The Corporate card cash advance fee is reported under "Other". See the section on "Cash
Advances" for additional information.
Include all food items under the "Meals" section on the voucher.
Other reimbursable expenses on a hotel receipt should be reported in the "Other" section of the
travel voucher.
Airfare
Airfare that is purchased through the UMKC Theatre business office, Sharon Pflughaupt, is paid
directly by the University and should not be included on the travel voucher.
Reimbursement is for coach fare only.
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The used passenger coupon should be attached to the voucher unless ticketless travel is used. In
that case, attach the original itinerary. If the itinerary does not show the method of payment,
attach a paid receipt such as a credit card receipt or statement, copy of the canceled check (front
and back), or a copy of the check pictures from the bank statement.
If the used passenger coupon is lost, provide an explanation and attach a paid receipt such as a
credit card statement, canceled check (front and back), check picture page from bank statement,
or a copy of itinerary showing method of payment.
If the airfare includes personal travel provide a statement from the travel agency on their
letterhead as to the cost of the business travel.
Automobile Rental
Sharon Pflughaupt will reserve a car through Enterprise for the traveler to conduct University
business. Enterprise will direct bill the University.
You will need a major credit card in order to rent a vehicle. Minimum age to rent a vehicle is
usually 21.
The car can be kept for additional days but you will have to reimburse the University for the
additional days.
The University is self-insured. Therefore, the traveler should decline all offers of insurance.
These expenses are not reimbursed to the traveler.
If all or a portion of the rental car charge is based upon miles, only the business miles portion
will be reimbursed. The business miles should be documented.
Other Modes of Travel
For other modes of travel (bus, railway, taxicab, shuttle, Tiger Air Express, Limo, etc.) provide
an explanation of the business purpose and, if over $75, a receipt.
If a receipt if not easily obtained (such as foreign travel on a railway, taxicabs, etc.) provide an
explanation as to why a receipt was not obtained.
Automobile Travel
Personal Automobile
Travel in a personal automobile is reimbursed at the current mileage reimbursement rate or for
actual fuel expenses. Only gas expenses are reimbursed - no oil, car washes, repairs, towing, etc.
Maintain a log of the actual business miles driven.
Election To Drive Personal Vehicle Rather Than Fly
If you elect to drive a personal vehicle rather than fly, a comparison of costs must be made
between the cost to drive and the cost to fly.
For this comparison, the cost to drive includes mileage, meals and lodging incurred en route to
and from the destination.
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For this comparison, the cost to fly includes airfare and reasonable travel expenses between
campus and airport and between airport and hotel in the destination city. The cost of the airfare
should be based on a 7-14 day advance coach fare. Include with the travel voucher the following
information:

The agency where you obtained the quote and the phone number and name of the agent.

The date you obtained the quote.
The fare quoted based on a 7-14 day advance coach fare.
The University will reimburse the lesser of the cost to drive and the cost to fly. The calculations
should be included on the voucher or on an addendum to the voucher.
Conference Fees/Registration
Conference fees and registrations should be provided in print.
Attach documentation showing what is included in the registration costs.
Provide an original receipt for the registration showing the method of payment.
Attach an itemized receipt for reimbursement for the purchase of conference materials and books
if over $75.
Meals included in the registration fee should not be claimed elsewhere on the voucher.
Foreign Travel
Vouchers that include foreign travel must be submitted in U.S. currency.
Each receipt must be identified, translated, and converted to U.S. currency.
All expense amounts must be converted to U.S. currency and the conversion rate used identified
on the voucher or on the receipts. The conversion rate can be per day or an average during the
period of foreign travel.
Laundry charges are reimbursable expenses during foreign travel
REHEARSAL SPACE
Students have access to rehearsal space for classroom scene work or for other academic needs.
Rooms in Grant Hall and the Performing Arts Center are available whenever classes or
rehearsals are not scheduled in them. These spaces can be reserved for student use by scheduling
times through the production office, Room 115 PAC, 235-2782. A weekly room schedule is
posted on each studio door. For production or rehearsal space, complete and submit the
request form on the following page.
The maintenance of these spaces is the responsibility of the people using them. Anybody who
does not adhere to the cleanliness and orderliness of these spaces will be denied use of these
spaces.
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REQUEST FOR PERFORMANCE SPACE
UMKC THEATRE
Name of Show or Project:
Rehearsal Dates & Times:
Tech Dates & Times:
Performance Dates & Times:
Strike Date and Plan:
Producer of the Project:
Name:
Email:
Cell Phone:
Faculty Advisor for the project:
Name:
Email:
Cell Phone:
Grad Student to Supervise the Load in and Load out ($100 fee):
Name:
Email:
Cell Phone:
Director:
Name:
Email:
Cell Phone:
Lighting Designer:
Name:
Email:
Cell Phone:
Sound Designer:
Name:
Email:
Cell Phone:
Costume Designer:
Name:
Email:
Cell Phone:
Set Designer:
Name:
Email:
Cell Phone:
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Technical Director:
Name:
Email:
Cell Phone:
Stage Manager:
Name:
Email:
Cell Phone:
Tickets: you may ask for donations and you may sell small snack items to support your project. If you sell tickets,
you must ticket this project through Central Ticket Office. They are located in the Lobby of the Performing Arts
Center or you can call 816-235-2770 for an appointment.
Budget: (Costumes borrowed from the caves must be cleaned before they are returned.)
Period of Costumes will be?
Costumes and Cleaning ($150-$200):
Sets:
Props:
Royalties for use of script:
Ticket, Program and Poster expenses:
Lighting expenses:
Sound expenses:
Budget Total:
Note: Remember that chairs or scenery must not block the fire exits
Departmental Approval will be supplied by email to the Producer.
Submit for approval to:
Production Manager, Sadie DeSantis, 816-235-2783, desantis@umkc.edu, 121 PAC
And
UMKC Theatre Chair, Tom Mardikes, 816-235-2784, mardikest@umkc.edu, 4319 Holmes or 404 PAC
1.22.15 cps
PAGE 2 of 2
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DRAFTING AND DRAWING SPACE
Room 109 in the PAC is known as the “design/tech classroom.” It is also available for students
who need drafting tables, model making, and rendering facilities during hours when classes are
not scheduled. Drafting plate drawers and lockers are available on a share basis for students to
store drawings and equipment.
CLASS AND PRODUCTION RELATED INJURY
Current UMKC forms and policies applying to academic or classroom injury are posted in 404
PAC and on the first floor PAC and Grant Hall (across from 102) callboards. UMKC forms and
policies are also available at http://www.umkc.edu/adminfinance/businessservices/workerscomp.
Call UMKC Risk Management, x1623 IMMEDIATELY, to report ALL University related
injuries. Students or the general public must file a UMUW Form 200 Student/General Public
Injury form in the event of an injury. The form must be submitted to Business Office, Human
Resources and Payroll Manager (PAC 118, x6686, FAX 5575) and to UMKC Risk Management
(Rm 103, 4825 Troost, FAX 5576) within twenty-four hours of the incident.
General information regarding accidents:
1. This policy and copies of the Risk Management procedures and forms should be
included by the stage manager in the production notebook for all UMKC Theatre
productions.
1.2.If the injury requires emergency medical attention or an ambulance, call the
UMKC Campus Police immediately (816-235-1515). It is their responsibility to
evaluate the situation and assist in getting the injured person to medical treatment. It is
not their responsibility to offer medical assistance. If the injury occurs OFF-CAMPUS
and emergency medical treatment is required the student should proceed to Research
Medical ER at 66th and Rockhill Rd., or the nearest emergency room.
3. Report forms are filled out by the Stage Manager, Supervisor, or Crew Chief of the
production; or by the instructor of the class; but not by the injured party.
4. There is a Referral for Medical Care form to be used for any employee of UMKC.
5. Generally, if the student is participating in the production or in the classroom as
required for academic credit, even if holding a GTA, the student is not covered by
any University insurance or Worker’s compensation.
Students are strongly encouraged to consider purchasing the UMKC-endorsed
student accident and sickness coverage (see page 78), unless they already have
personal health coverage.
Those employed specifically by Kansas City Repertory Theatre are covered by Rep policies and
procedures. The Rep supervisor or stage manager has appropriate forms on file. Address
questions to Jerry Genochio, Producing Director. x2775, genochioj@kcrep.org, 404 PAC
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UMKC THEATRE TICKET POLICY
2015-16 SEASON
UMKC Theatre and Kansas City Repertory student ticket policies are updated annually.
UMKC Student Theatre ID cards and ticket policies will be distributed during the first 3 weeks
of classes. The policies are also posted on department call boards across from GH 103 and
outside PAC 115 and PAC 120.
Theatre students may also obtain a Theatre ID card from Cindy Stofiel, 120 PAC, 816-235-6683.
Cast and designers of the production receive complimentary tickets, in addition to their Theatre
Student ID ticket, as follows:
1 Comp for cast and design team to 116 shows
2 Comps for cast and design team to Spencer Shows
1 – 2 Comps for cast and design team to Grant Hall shows depending on seating
configuration (per Production Manager
Crew members do not get additional comps.
Complimentary tickets are based on availability.
Wait List Procedures at box office the night of sold out performances:
Maximum number of patrons on wait list is 10.
The wait list is first come, first served.
Only you can put your name on a waiting list. This includes Faculty members.
You cannot put someone else’s name on a waiting list or reserve multiple tickets. This
includes Faculty members
If a seat becomes available we will seat the patrons by order of the list. Patrons must be
present when their name is called.
The only persons authorized to make exceptions are House Managers or Production
Manager, Sadie DeSantis.
It is up to the house manager or production manager to determine whether or not it is
possible to add seats.
CTO should offer options for other nights to attend the productions.
If a patron becomes argumentative with CTO staff member in regards to the wait list
policy, the patron should be directed to the House Manager or Production Manager
immediately.
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Campus Services and Information
HELPLINE
816-235-2222
Personnel will research your question and respond. This is also the number to call for referrals to
sources of student insurance.
WEBSITES
www.umkc.edu
www.umkctheatre.org
BOOKSTORE
The bookstore is located on the street level of the Student Union (235-BOOK 2665).
www.umkcbookstore.com
RECYCLING
ON CAMPUS: Bins are located in high use areas. Call the Purchasing Department (x1352) for
assistance if you have a sizable number of cardboard boxes for recycling.
CHECK CASHING
UMKC students can cash checks up to $25 by showing their validated student ID cards at the
Cashier's Office in the Administrative Center from 8 a.m. to 5 p.m. Monday, Thursday and
Friday, and 8 a.m. to 6 p.m. Tuesday and Wednesday. In addition, ATMs are located in the
University Center cafeteria and in the Administrative Center, first floor. There is a US Bank in
the Student Union.
IDENTIFICATION CARDS
The UMKC One Card was introduced in the Spring of 2009 as the official campus identification card.
The One Card Office provides campus IDs to faculty, students, staff and special programs on campus. UMKC One
Cards can be used to attend UMKC sporting events, eat at dining service locations, make purchases at the Smart
Market, check out materials at the campus library, charge books to your student account from the University
Bookstore, enter secure campus buildings and residence halls and get discounts at local and national merchants.
The UMKC One Card Office
Student Union
Room 410
5100 Cherry St.
Kansas City, MO 64110
Hours:
8 AM - 5 PM (Mon. - Fri.)
Phone:
816.235.6657
umkc-onecard@umkc.edu
In addition, theatre identification cards are given to all theatre students each year. These cards
can be obtained from Cindy Stofiel, 120 PAC, 816-235-6683 and should be carried at all times
for attendance at theatre activities.
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COUNSELING, HEALTH AND TESTING CENTER
Rooms 206 & 115, 4825 Troost Building
Counseling, Room 206 (816) 235-1635
Health, Room 115 (816) 235-6133
Testing, Room 206 (816) 235-1635
www.umkc.edu/chtc
E-mail: chtc@umkc.edu
The CHTC combines the services of student health care, psychological counseling and testing to
provide for the mental, physical and organizational well-being of the students, staff, faculty and
the University organization itself in a culturally sensitive environment. The personal and
academic pursuits of students are supported through testing services. Preventative and
programmatic activities support the development and maintenance of a healthy, confident
community of learners on the University campus.
HEALTH INSURANCE
Students are strongly encouraged to consider purchasing the endorsed student accident
and sickness coverage unless they already have personal health coverage.
The University of Missouri-Kansas City, with Aetna Student Health, offers a student-focused
health insurance plan that protects you at school, at home and while traveling abroad. You may
find detailed Plan information on-line, at the following website:
http://www.aetnastudenthealth.com/stu_conn/student_connection.aspx?groupID=890439
Why Is A Student Accident and Sickness Insurance Plan Important?
UMKC will not assume any financial responsibility for your medical bills, and you are strongly
encouraged to maintain health insurance. If you have been covered by a parents' policy, please
review it carefully to make certain you are still eligible for coverage. Employer plans often do
not cover students after they reach a certain age, and HMO's may provide limited coverage when
away from home. If you are interested in learning more or if you are not adequately covered, be
sure to take advantage of the University of Missouri-Kansas City Student Accident and Sickness
Insurance Plan on-line at:
http://www.aetnastudenthealth.com/stu_conn/student_connection.aspx?groupID=890439
International Students
All non-immigrant international students, scholars and Optional Practical Training/Academic
Training participants holding F or J visas attending UMKC are eligible for this coverage.
Enrollment in this Plan is mandatory and automatic for all non-immigrant international students
upon academic enrollment each semester. Enrollment for Scholars and post-completion Optional
Practical Training/Academic Training participants is optional and requires completion of an
enrollment form each term. Enrollment forms may be obtained at the International Student
Affairs Office.
Insured Dental Program
Your school-sponsored Aetna Student Health insurance plan offers you a dental insurance plan
that may fit your needs.
http://www.aetnastudenthealth.com/stu_conn/student_connection.aspx?groupID=890439
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If you have any questions, please do not hesitate to call Aetna Student Health Customer Service
Department at (877) 375-7905.
The University of Missouri-Kansas City Student Accident and Sickness Insurance Plan is
underwritten by Aetna Life Insurance Company (ALIC) and administered by Chickering Claims
Administrators, Inc. Aetna Student Health is the brand name for products and services provided
by these companies and their applicable affiliated companies.
This material is for information only and is not an offer or invitation to contract. Health/Dental insurance plans
contain exclusions, limitations and benefit maximums. Discount programs provide access to discounted prices and
are NOT insured benefits. The member is responsible for the full cost of the discounted services. Discounts are
subject to change without notice. Discount programs may not be available in all states. Discount programs and travel
assistance services may be offered by vendors who are independent contractors and not employees or agents of
Aetna. Preferred providers are independent contractors and are neither employees nor agents of Aetna Life
Insurance Company, Chickering Claims Administrators, Inc. or their affiliates. Information is believed to be
accurate as of the production date; however, it is subject to change.
15.36.382.1-MO
FINANCIAL AID
There are four types of financial aid at UMKC, scholarships, grants, loans, and work-study.
Loans are available in two forms—low cost emergency or short term loans (payable within 60-90
days) as well as low-cost, long-term loans. Jobs are available through the College Work-Study
program, although the requirements of these are most often not compatible with an MFA
program.
All programs require application and, in most cases, financial statements. It is important that
students interested in long term loans apply as soon as possible after January 1 preceding the
semester in which you wish to enroll. All MFA acting students and most D/T students enter in
the Fall Semester. Students wishing to participate in any of these programs should see the
financial aid para-professionals in the financial aid office any time between 10am and 5pm
weekdays.
Submit a Free Application for Federal Financial Aid (FAFSA) to Federal Student Aid Programs.
This form can be obtained from college financial aid offices or the UMKC Student Financial Aid
Office or on-line at www.fafsa.ed.gov.
Transfer students must submit a Financial Aid Transcript from each school attended. Forms are
available at the UMKC Financial Aid Office.
FAFSA and THIRD YEAR COURSELOADS
If you receive financial assistance through FAFSA application (in addition to departmental
assistance) and stated on your FAFSA form that you will be full-time: e-mail the Financial Aid
Office finaid@umkc.edu notification that you will be carrying 6 rather than 9 hours and in which
semester. Your assistance award is decreased by only the cost of the hours not taken. The living
expense allotment should not be affected IT IS BEST THAT YOU COMPLETE AND SUBMIT
THE NOTICE a few months before the semester SO THAT YOUR ASSISTANCE WILL NOT
BE DELAYED AT THE BEGINNING OF SEMESTER.
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GRADUATE ASSISTANTSHIPS
During the academic year, Graduate Teaching Assistantships in limited numbers are available to
selected candidates upon application. Each requires teaching, production or assistance with
Departmental responsibilities. Three general criteria are used:
Student abilities and/or accomplishments: this is based on talent and discipline,
leadership qualities, and achievement in the program of study.
Teaching and service requirements of the department: the performance or design/technology
faculty will recommend to the Chair those students they feel will best be able to teach or assist in
classroom or production work or to perform the various clerical, technical, and front-of-house
activities available and necessary in the department.
LIBRARY SERVICES
The Miller Nichols General Library is located at 51st and Rockhill Road and provides facilities,
resources, and services to all UMKC students. Hours may change during vacation or exam times
so call to confirm, Reference Library 235-1534. In addition, the Music Library 235-1675 is
located on the ground floor of the General Library. The media center contains a good collection
of audio/visual materials for acting and design/technology students.
Phone: 816-235-1671 for hours.
POLICE DEPARTMENT
The police department is open 24 hours a day, seven days a week. 816-235-1515. Blue
emergency phone boxes which dial straight to the campus police are located around campus.
There is one along the front walk to the west of the PAC lobby and one inside the first floor
parking structure to the east of Grant Hall.
HTTP://WWW.UMKC.EDU/ADMINSERVICES/POLICE/DEFAULT.ASP
EMERGENCY RESPONSE GUIDELINES
http://www.umkc.edu/umkcalert/
VEHICLE REGISTRATION AND PARKING PERMITS
Students with motor vehicles need the minimum amount of liability insurance required by
Missouri law. There is no free parking at UMKC, day or night. Students must park and pay at the
meters or purchase a parking permit. Parking is available in the metered areas located throughout
the campus. Anytime a vehicle is parked in a metered space the meter MUST be paid, even if a
University parking permit has been purchased and is displayed on the vehicle.
Permits are available on-line or in person on a single semester basis, fall, winter or summer.
http://www.umkc.edu/finadmin/parking/default.cfm
Multi-semester permits are available which are valid for fall and winter semesters. Disability
permits are valid in faculty/staff areas, but they are NOT valid in handicapped parking areas.
Handicapped parking areas on campus are restricted to those individuals with state handicapped
license plates or hang-tags. The Parking Control Office is located in Room 221 of the
Administrative Center. Office hours are 8 a.m. to 5 p.m. Monday through Friday.
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TRAFFIC VIOLATIONS
Tickets or traffic-violation notices are issued whenever someone fails to abide by UMKC's
traffic regulations. Detailed information on exact regulations is available on-line. Traffic
violation fees should be paid on time and may be subject to penalties. Unpaid fees accumulate on
the student account. Records and transcripts will be encumbered until all fees are paid. To appeal
a traffic violation notice, students must report to UMKC Parking Operations, Room 221 of the
Administrative Center, and file a written exception to the assessment within five days of
receiving the violation notice.
http://www.umkc.edu/finadmin/parking/appeal-ticket.cfm
MISSOURI VEHICLE LICENSING
Please consult a local DVM office or http://dor.mo.gov/motorv/ for information regarding
deadlines and procedure for licensing your vehicle in Missouri. In the past, students have
reported receiving tickets for being beyond deadline.
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Where To Go Or Call Guide
Emergency/POLICE
816-235-1515
Theatre department office
816-235-2702
5319 Holmes
Production Office
816-235-2782
Stage Managers/ASMs/scripts
Business Office
Sharon Pfluhaupt
5319 Holmes, 1st fl
816-235-6686
Address and Name Changes
on-line at Pathway and with Human Resources
Academic Advising
Add/Drop Information
Application for Graduation
Cindy Stofiel, 120 PAC
816-235-6683 Forms on-line at One Stop
Automobile Registration
Parking Operations, 221 AC
816-235-5256
Berkley Child Care Center
1012 E. 52nd Street
816-235-2600
Cashier’s Office
Cashier Office, 112 AC
Check Cashing
Fee Payment
Encumbrances to Registration
Central Ticket Office
www.umkctheatre.org
816-235-6222
Counseling, Health and Testing Center
4825 Troost
Counseling,, Room 206
Health, Room 115
Testing, Room 206
Disabled Student Services
350 Administrative Center
816-235-1365
816-235-1635
816-235-5696
Emergencies
Police Office
Oak Street Parking
Financial Aid
101 Admin Center
finaid@umkc.edu
x1154
Graduate student FAFSA
Donna Jackson
jacksond@umkc.edu
x1083
816-235-1515
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Undergraduate FAFSA
FAFSA Names A-G
FAFSA Names H-O
FAFSA Names P-Z
Chancellor Non-resident Awards
Theatre scholarships, GTA
HR/Payroll
MFA Fellowship
Beverly Hampton
Lisa Power
Neotashia Jackson
hamptonb@umkc.edu
powerl@umkc.edu
jacksonnd@umkc.edu
Chelsie Brandenburger
Cindy Stofiel
Sharon Pflughaupt
Alphia Curry
Lost and Found
Lobby, University Center
Miller Nichols Library
51st and Rockhill Road
Circulation
Hours
Reference Desk
x1238
x1253
x5741
brandenburgerc@umkc.edu
stofielc@umkc.edu
pflughaupts@umkc.edu
currya@umkc.edu
x5228
x6683
x6686
x6281
816-235-5555
800 E. 51st Street
816-235-1526
816-235-1671
816-235-1534
Production Office
816-235-2782
Swiney Recreation Center
816-235-1772
Transcripts
Records Office, 115 AC
816-235-1122 or order through Pathway
Writing Studio
Atterbury Student Success and
Miller Nichols Library
816-235-1146
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CAMPUS MAP
A campus map can be found at http://www.umkc.edu/maps/
MAP TO 4501 GENESSEE STREET
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Housing Information
The following is a list of local management companies and apartment complexes that was
compiled by a graduate of the program.
UMKC Real Estate
The UMKC Homes Real Estate office manages more than 115 residential properties in the neighborhood
south of campus, either owned by the Curators of the University of Missouri or the UMKC Trustees. The
Real Estate office is located at 5326 Rockhill Road, Kansas City, Mo 64110. For information on UMKC
Homes rental properties, please contact James Huss, Property Manager, or Tracy, Leasing Agent, at 816235-1133. Students interested in on-campus housing should contact Residential Life at 816-235-8840.
These four places/management companies are found along East 47th/Emmanual Cleaver II Blvd.
immediately East of the Plaza (or East Plaza). These Apartment complexes are a short walk to
UMKC, but are also very popular. Best combination of price, location, and quality:
 Plaza Park Apartments: 816-753-8974
 Melbourne: 816-753-8974
 Whitehall: 816-561-3796
The West Plaza area has a handful of apartments, mainly named after poets and authors. These
are more aesthetically pleasing on the outside, but a bit more money, and parking can be a bit of
a pain. This is farther away from campus that you’d need to arrange transportation or drive:
 Lowell, Carlyle, Longfellow, Mark Twain, Rousseau, Cezanne, St. Regis: 816-756-0701
(Plaza Center Apartments)
 Sunset Tower and Robert Louis Stevenson: 816-931-9787
 Plaza House: 816-561-6496
 Dunlieth Towers 816-531-9344
 Cres Management 816-756-0220
Immediately South of Brush Creek, a small-refurbished body of water that flows eastbound
along the South side of the plaza are a few places that overlook the plaza. These tend to be higher
end, luxury apartment complexes. Ideal for couples, or if you’re taking in a roommate.
Generally, not the most financially friendly option if you’re concerned with saving money:
 St. Regis: 816-756-0701
 Casa Loma: 816-753-1200
 Locarno: 816-531-8989
 The Sulgrave: 816-931-33413
Here is a listing of some places West and North of the plaza:
 Cole Gardens: 816-753-1923 (Celtic Properties)
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






Plaza Square: 816-931-4500 (Ellis Real Estate)
Plaza Terrace: 816-531-1152
Colonial Courts: 816-459-7905 (George W. Miller Company)
Wellington Plaza: 816-756-1717
The Stones: 816-444-6738
Jefferson Manor, 4515-17 Jefferson: 913-522-9002, jeffkerwin@aol.com
Casa Royale, 624 W. 44th Street: 913-522-9002, jeffkerwin@aol.com
So, there are a couple of places you can look into. Call these people and set up appointments if
you’re coming into town. Get as many as you can, there are a LOT of apartments in Kansas City
that are always having move-in specials, etc. Most places won’t know of availabilities for August
until the beginning of July.
Life in the Midtown-Westport-Plaza-Brookside Communities
Compiled by Marianne Evans and Adam Scarano
RESTAURANTS
Kansas City has more good restaurants than many people unfamiliar with the city suspect. The
ones listed here are reasonably close to the Rep and to Homestead Studio Suites. A special
section at the end lists a selection of Kansas City’s famous barbecue restaurants. If barbecue is
your delight, you’re in the right town.
NEAREST TO THE PERFORMING ARTS CENTER
ACCURSO’S 816-753-0810
4980 Main Street
An Italian restaurant that is also a deli. Sandwiches featured at lunch along with pasta, soups and
salads. Additionally there are daily meal specials, including meatloaf usually on Tuesdays.
Lunch hours are 10:00 am to 4:00 pm Monday through Friday. Dinner hours are 5:00 pm to
10:00 pm Tuesday through Saturday.
ANDRE’S CONFISERIE SUISSE 816-561-3440
5018 Main Street
Good for light lunches, but basically a pastry shop. Carries a wide variety of specialty chocolates
as well as cakes, tortes, and croissants made daily on premises.
EGGTC.
5107 Main
Little Breakfast nook.
816-561-0116
MINSKY’S PIZZA
816-561-5100
5105 Main Street
Pizza and other good things. They will deliver.
OSTERIA IL CENTRO
816-561-2369
5105 Main Street
Italian with large selection of wines by the glass.
SPIN
4950 Main Street
816-561-7746
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Pizza and other good things. Great atmosphere!
PIZZA HUT
39th and Main
816-753-8877
PIZZA 51
816-531-1151
5060 Oak Street
Great pizza.
PLANET SUB
816-960-6696
4928 Main Street
They serve many different subs as well as salads, soups, chips, soft drinks, and a few beers on
tap.
SUBWAY
816-756-1756
312 E 51st Street
In case you don’t already know, Subway offers an inexpensive and huge variety of made-toorder sandwiches with numerous breads, cheeses, meats, vegetables, and dressings from which to
choose.
THE MIXX
816-756-2300
4855 Main
A great fast place to get gourmet soups, salads, and soups.
PLAZA AREA
BO-LING‘S
816-753-1718
4701 Jefferson Street, Kansas City, MO 64112
Chinese, with a take-out lunch counter in the rear, serving both Chinese and American food.
Sundays, 11:30-2:00, Bo-Ling’s has the best Dim Sum in the USA.
THE CAPITAL GRILLE
816-531-8345
4740 Jefferson
Classic steak house offering steaks, chops, North Atlantic lobsters and other fresh seafood.
Extensive wine list and nationally known for meat. Expensive.
CLASSIC CUP PLAZA
816-753-1840
301 W. 47th
Contemporary cuisine. Nice place for people watching. Large windows face 47th Street and in
summer there is outdoor café service. Good food, a bit pricey, but a fun place to see and be seen.
FIGLIO’S
816-561-0505
209 W. 46th Terrace
Italian, featuring wood-fired pizzas, handmade pastas, and freshly prepared desserts. Balconies
face Mill Creek Park; a pleasant place in spring and summer.
FOGO DE CHAO
816-931-7700
th
222 W 47 St
Brazilian churrascaria where patrons enjoy skewered fire-roasted meats, authentic side dishes,
fresh veggies and salads.
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FRED P. OTT’S BAR & GRILL
816-753-2878
4770 JC Nichols Parkway
Basic bar and grill featuring burgers. Serves late.
A favorite late night watering hole of the MFA program.
GRAND STREET CAFÉ
816-561-8000
4740 Grand
New Chef and menu have gained praise. Pricey. Stylish atmosphere. Very near the Homestead.
HOUSTON’S
816-561-8542
4640 Wornall
One side is a bar with food (look for the excellent Todd Hido photographs
and Thomas Hart Benton prints); the other side is your typical contemporary yuppie chain
restaurant.
JACK STACK BBQ
4747 Wyandotte
One of KC’s specialties.
816-531-7427
KONA GRILL
816-931-5888
444 Ward Parkway
American menu of steaks/seafood along with sushi bar to add an international flavor.
MELTING POT
450 Ward Parkway
Fondue Feast at its best!
816-931-6358
M&S GRILL
816-531-7799
4646 JC Nichols Parkway
Classic American grill- part sophisticated dining, part chophouse and part saloon. Sister
restaurant to McCormick and Schmicks.
McCORMICK & SCHMICKS
SEAFOOD RESTAURANT
816-531-6800
448 W. 47th St.
They do have steaks and poultry but seafood is their specialty and you would be cheating
yourself to have anything else. (The desserts don’t look bad, either)
NOODLES AND COMPANY
500 Nichols Rd., Seville Square
816-561-6100
PANERA BREAD
816-931-8181
4700 Pennsylvania
Upscale bakery and café with outdoor patio.
PLAZA III
816-753-0000
4749 Pennsylvania
Prime, aged cuts of Midwestern beef, chops, fresh fish, and lobster with an extensive wine list.
All menu items are a la carte and expensive but they are worth it.
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TOMFOOLERIES
816-753-0555
612 W. 47th
Featuring Sunday Bountiful Brunch Buffet (with a 50 item omelet bar) and the daily “Late for
Lunch Bunch”. Also a late night Happy Hour from 10:30 pm till closing.
UNO CHICAGO GRILL
816-931-1599
4710 Jefferson
Chicago style pizza. Offers 20% discount when you show your Homestead room key!
WINSTEAD’S
816-753-2244
101 Emanuel Cleaver II Blvd.
Serving their famous steak burgers in Kansas City for over 50 years.
WESTPORT/39TH STREET
BROADWAY CAFÉ
816-531-2432
4106 Broadway
Want a cup of Joe? This is a prime place to go.
CALIFORNOS
816-531-7878
4124 Pennsylvania
A hip, Romantic Bistro & Event Venue where West-Coast meets Old West.
CORNER RESTAURANT
816-931-4401
4059 Broadway
Originally a vegetarian hangout, but now serving breakfast, lunch or dinner. For breakfast on
weekends, expect to have to wait on the sidewalk. No reservations, no credit cards.
D’BRONX
816-531-0550
3904 Bell St. (corner of Bell and 39th)
This is about the closest thing to a NY deli that you can find in Kansas City. Features include
hand tossed NY style pizza, sandwiches, and full line of deli sandwiches.
FOUNDRY
816-960-0866
424 Westport Road
This a great restaurant and also a great brewery. This restaurant has American style food and has
a gluten free menu.
JAZZ! A Louisiana Kitchen
816-531-5556
th
1823 West 39 Street
A little piece of New Orleans right here in Kansas City. Serving a huge variety of Louisiana
Cajun specialties from blackened seafood and meat to Creole to crawfish to Etouffee. Almost
always has live music. Great happy hour specials.
JERUSALEM CAFÉ
816-756-2770
431 Westport Road
Primarily Middle Eastern cuisine including some vegetarian. The moussaka is highly rated along
with falafel and hummus.
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KELLY’S WESTPORT INN
816-561-5800
500 Westport Road
Kelly’s claims to be one of the most famous bars in the United States. If you are in Westport, it is
worth a visit, unless it happens to be St. Patrick’s Day. Then you might want to think about it
first, as it is very popular that day. The building goes back to the Boone family and has been a
saloon since at least 1933. If you wonder why a bar is in the restaurant section, it is because
Kelly’s has pizza. They offer all the food groups…pepperoni, sausage, cheese, olives, etc. They
even have vegetables. They also deliver. Call 816-931-2777 or visit their web site
http://kellyswestportinn.com/
THE LEVEE
816-561-5565
rd
16 West 43 (two blocks north of the Homestead, across from Wild Oats)
Nightclub with live music, plenty of indoor and outdoor seating, and a modest bar menu.
MURRAY’S
816-931-5646
4120 Pennsylvania Ave.
This isn’t dinner, but you might want to skip dinner and just eat ice cream here. Voted best ice
cream by Pitch Weekly several years running. Features homemade ice creams, homemade
cookies, fruit smoothies and a coffee and espresso bar. Beware, though, they close the last week
of November and don’t reopen until the beginning of March.
SARPINOS
816-931-8600
905 WestPort Road #2B
A great pizzeria that doesn’t just make the traditional pizza. They also deliver to the PAC and to
many locations in the metro. You can call and order or order online at gosarpinos.com.
MIDTOWN
THE AMERICAN RESTAURANT 816-426-1133, 545-8001
Crown Center, 25th and Grand Avenue
Fine American cuisine in an elegant surrounding with a menu that includes seared Sante Fe
spiced venison, and buttermilk custard pie with huckleberries for dessert. Expensive and (for
Kansas City) dressy.
GATES BAR-B-Q
816-753-0828
3205 Main
Perhaps Kansas City’s best. See the Barbecue reference page.
GRAND EMPORIUM
816-531-1504
3832 Main
Bar-B-Q plus music. Live music seven nights a week – blues, reggae, rock, zydeco, jazz and
swing, See also Barbecue reference page. Near the Unicorn Theatre. For more information see
grandemporium.com.
LIDIA’S
816-221-3722
101 W. 22nd St.
Enjoy the aromas, atmosphere and flavors of acclaimed restaurateur Lidia Bastianich’s
distinctive Northern Italian cuisine. A big showy place but not particularly expensive. Allow
time.
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NAPOLEON’S
816-931-4401
1601 E. 18th Street
All standard bakery items featuring pastries and fresh baked bread. Also serves sandwiches and
other light fare.
BROOKSIDE
AIXOIS
816-333-3305
251 E. 55th St. (corner of Brookeside Blvd. and 55th)
Traditional French bistro offering main courses such as rack of lamb plus crepes, croques
monsieur, quiche, pates, and irresistible homemade desserts.
CARMEN’S CAFÉ
816-333-4048
6307 Brookside Plaza
Mostly Italian cuisine but it also has a Latin flair. If you go bring your appetite because the
portions are HUGE!
CHARLIE HOOPER’S
816-361-8841
12 West 63rd
Long-established neighborhood bar and grill with daily happy hour specials, video games, a
patio, and traditional pub fare at a reasonable price.
EUROPA!
816-523-1212
323 E. 55th Street
Europa!, still in its infancy, has already cultivated a following of regulars from the
Crestwood/UMKC neighborhood. Diners will feel welcome here, whether you come solo or en
masse.
JALAPENOS
816-523-5462
6318 Brookeside Plaza
Authentic Mexican food prepared from scratch. Vegetarian dishes available.
JOE D’s
816-333-6116
6227 Brookeside Plaza
Eclectic, continental cuisine with daily fish specials, varied appetizers, salads, 50 wines by the
glass and 200 bottles on the list. Can get pricey.
MICHAEL FORBES BAR AND GRILLE 816-333-4355
128 W. 63rd Street
This restaurant is an American bar and grill that offers a wide range of surf and turf dishes. This
one would be great for a date night.
TAJ MAHAL
816-361-1722
7521 Wornal Rd.
(Just South of Brookside)
An Indian restaurant known for its tandoori chicken and service. The menu includes a few
southern Indian items, which are a nice change from the heavy and highly-spiced northern Indian
cuisine that most Westerners know.
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VEGETARIAN
BLUEBIRD BISTRO
816-221-7559
1700 Summit
Primarily vegetarian but also serving fish and shrimp. Dinner is served Thursday, Friday, and
Saturday nights until 10:00 pm. Music on Thursday nights and after dinner on Saturday nights.
Also does brunch and lunch from 10:00 am to 2:00 pm every day. They are a bit pricey but
friendly and informal.
EDEN ALLEY
816-561-5415
707 W. 47th, in Unity Temple
Located in the basement of Unity Temple. There is no ambiance but the food is exceptionally
good with large portions and “home cooked” taste. Vegans can make a meal here. Live music on
Friday nights. No credit cards.
VEGAN
CAFÉ GRATITUDE
816-474-LOVE
333 Southwest BLVD
A new vegan restaurant in Kansas City that is focused on organic, locally grown food. Their
menu helps your self-esteem with dishes like the I Am Terrific, and I Am Transformed.
FOODOO
3605 Broadway
816-673-1317
Cutting-edge vegan cuisine and fresh pressed artisan juices.
FUD (pronounced fōōd)
816 785-3454
813 W. 17th St.
Focusing on organic, local, all vegan food
MUD PIE
816.931.4539
1615 W. 39th St
KC’s first vegan bakery and coffeehouse
Traditional Kansas City Places
SAVOY GRILL
816-842-3890
th
219 W 9 Street
Famous for their seafood. Nearly 100 years old. Wonderful ambiance, especially in the first
room where the enormous booths almost give you your own private room.
STROUD’S
816-333-2132
1015 E 85th St.
Famous for its family-style fried chicken dinner and its slogan “We Choke Our Own Chickens,”
Stroud’s has long been a Kansas City favorite. Meals are inexpensive. If you go there, bring your
appetite and plan on waiting more than an hour for your table…but it will be worth the wait.
KANSAS CITY BARBECUE!
Kansas City has long been famous for its barbecue and there are many places to choose from.
These are just a few of them. If you want more, look in the Yellow Pages beginning on page
1113. Try them all and give us your vote on which one is best.
According to the Kansas City Barbeque Society:
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“It’s not just for breakfast anymore”
ARTHUR BRYANT’S BARBEQUE
816-231-1123
1727 Brooklyn
The most famous of all KC barbecue places. If you want brisket piled high on white bread with
fries, fresh cut and fried in pure lard, this is your place! For the adventurous, there is a
vinegar/paprika sauce to try.
BB’S LAWNSIDE BARBECUE
816-822-7427
1205 E. 85th St.
BB’s is set in a ramshackle roadhouse and combines barbecue and blues. The barbecue is
slathered in a sweet sauce with a slight taste of apples and cinnamon. Their side dishes are
battered fries and baked beans with green peppers. It’s all served at long tables family style,
covered with checkered tablecloths or in booths along the wall. Weekends, beginning Thursday,
they serve up live blues along with the food. Closed Monday and Tuesday and they take no
reservations.
DANNY EDWARDS BLVD BBQ
816-283-0880
2900 Southwest Blvd.
This place has only 18 stools, and at midday they are always filled. They do lunch only but it is a
brisk business downtown for their burnt ends, full slabs, and beef sandwiches. Open Monday
through Friday only.
FIORELLA’S JACK STACK BARBECUE
9520 Metcalf—Overland Park
913-385-7427
135th and Holmes—Martin City
816-942-9141
4747 Wyandotte—Plaza
816-531-7427
22nd and Wyandotte—Downtown
816-472-7427
This is Kansas City’s best BBQ restaurant as rated by the Zagat Survey. They serve up
scrumptious barbecue, baked beans, cole slaw and potato salad. Great fries, too!
GATES BAR-B-Q
3205 Main
816-753-0828
1325 East Emmanuel Cleaver II Blvd.
816-531-7522
This is Marianne’s favorite. Ollie Gates is a legend in Kansas City, a city booster, purveyor of
wonderful food, and the president and founder of Rib Tech, a school for aspiring barbecue cooks.
JOE’S KANSAS CITY
913-722-3366
3002 W. 47th (corner of 47th and Mission inside the TOTAL Gas Station)
Just because this place is located inside a gas station doesn’t mean that they don’t make the best
BBQ you have ever tasted. You can gas up, grab a newspaper and a rack of ribs all in one stop!
This restaurant was also named One of the 13 places to eat before you die by Anthony Bourdain.
LC’S BAR-B-Q
816-923-4484
5800 Blue Parkway
Their smoker is chained to a utility pole in front of this establishment and this is the pit stop of
choice for sports fans on the way to Arrowhead and Kauffman Stadiums.
ROSEDALE BARBEQUE
913-262-0343
600 Southwest Blvd., Kansas City, KS
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One of Kansas City’s oldest, since 1934.This is the first place I ever ate barbecue in Kansas City
and I still remember it! They do dine-in, carry-out and they are only 10 minutes from the Plaza.
SMOKESTACK BAR-B-Q
816-822-0918
8920 Wornall
The usual suspects but with the greatest baked beans ever tasted.
WINSLOW’S CITY MARKET BARBECUE
816-471-7427
City Market, 20 East 5th St.
If you go to the City Market on Saturday morning and are in the mood for barbecue, this is the
place.
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MISCELLANEOUS INFO
AIRPORT TRANSPORTATION
At this writing, KCI Shuttle starts at 4:24 am; pick up at Homestead Studio Suites on the Plaza
is at 24 and 54 after the hour. Last shuttle from the airport is at 11:55 pm. Charge is $15.00 one
way, $24.00 round trip. Reservations must be made 24 hours in advance, before 10:00 pm. BE
SURE TO CHECK CURRENT RATES AND TIMES.
Reservation 816-243-5000
800-243-6383
www.KCIShuttle.com
Quicksilver Airport Service
913-262-0905
Yellow Cab
816-471-5000
Checker Cab
816-444-4444
BANKS
Commerce Bank
816-234-1800
Plaza Branch
118 W. 47th St.
You can cash your paychecks here.
Bank of America
Brookside Branch
800-453-2265
816-979-4482
115 W. 63rd St.
Plaza Branch
4720 Jefferson
BARBERS
Board of Trade Hair Design
4800 Main
816-714-7010
816-931-4660
University Barber Shop
816-363-2242
UMKC University Center First Floor
BEAUTY/WELLNESS
Bangs
816-756-1422
1115 W. 47th St. (Just west of the Plaza)
Persona Day Spa
408 West 74th Terrace
816-822-0600
The Salon
4548 Main
816-531-0607
BOOK STORES
Barnes & Noble
816-753-1313
420 W. 47th
Open 7 days a week from 9 am to 11 pm.
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Bloomsday Books
816-523-6712
301 East 55th Street
www.bloomsday@ix.netcom.com
Sells and buys used books, both hardback and paper. Open 7 days a week, M-F 8:30 am – 7 pm,
Sat. 9 am – 6 pm, Sun. 10 am – 5 pm. (Also has The New York Times.)
½ Price Books
1002 Westport Road
816-931-5377
Rainy Day Books
913-384-3126
2706 W. 53rd Street, Fairway Shops
New books, hardback and paper. Frequent readings by authors. Hours: Mon-Sat 10 am – 6pm,
Thurs. 10am-7pm, closed Sunday.
CAR RENTAL
Enterprise – Brookside-Landing
1410 East 63 Street
816-444-8940
DRY CLEANERS
Arrow Fabricare Services
816-931-2452 800-542-7769
3838 Troost www.arrow-care.com
Free pick up and delivery in KC Area. They are more expensive but absolutely the place to send
delicate or your favorite items.
Larissa’s Plaza Tailor Shop
816-753-1209
46351 Wornall Rd.
Again, more expensive but close by and reliable
Pride Cleaners
300 E. 51st
816-753-8481
GOLF COURSES – PUBLIC
Greater KC Municipal Golf Course 816-513-8910
6900 Swope Memorial Dr. 64132 – Swope Park
Painted Hills
7101 Paralell Parkway
913-334-1111
Ironhorse Golf Club
913-685-4653
15400 Mission Rd. www.ironhorsegolf.com
GROCERS
Sun Fresh Market
816-931-1639
4001 Mill St.
This is the closest large supermarket to Homestead Studio Suites.
Whole Foods Market
913-652-9633
7401 W. 91 St.
Offers wide variety of organic/health food items.
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Constentino’s Market at Brookside
816.523.3700
14 W. 62nd Terr.
Market specializing in gourmet cuisine, with excellent seafood and bakery
LIQUOR STORES
Berbiglia
4300 Main
CVS
5011 Main
Sun Fresh Market
4001 Mill St.
816-531-1725
816-531-4699
816-931-1639
METRO BUS AND VAN TRANSPORTATION
Bus schedules
816-221-0660
Call this number for route planning or check their website at www.kcata.org.
MOVIE THEATRES
AMC Ward Parkway
8600 Ward Parkway
www.AMCtheatres.com
Cinemark Palace at the Plaza
500 Nichols Rd.
First run movies.
816-363-4AMC
888-AMC-4FUN
816-756-5877
Englewood Theater
816-252-2463
10917 E. Winner Rd., Independence
Movie classics on a wide screen.
Rio Cinema
7204 W. 80th
913-383-8500
Screenland Theatre
17th & McGee
816-492-6577
Tivoli Manor Square Theatre
4050 Pennsylvania
Art films, foreign films.
www.TivoliKC.com
816-561-5222
Moviefone
816-333-FILM
MUSEUMS
American Jazz Museum
1616 E. 18th St.
816-474-8463
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Arabia Steamboat Museum
400 Grand Ave
Kemper Museum of
Contemporary Art
4420 Warwick
816-471-1856
816-753-5784
Negro Leagues Baseball Museum
1616 E. 18th St.
816-221-1920
Nelson-Atkins Museum of Art
4525 Oak
816-751-1278
Truman Presidential
Museum and Library
816-268-8200
500 W US Highway 24 Independence, MO
NEWSPAPERS
The Kansas City Star
Kansas City’s only local daily paper. Arts/Entertainment preview section on Fridays.
The New York Times
Sold at UMKC bookstore next to theatre, Barnes and Noble, and boxes at several Plaza locations.
Pitch Weekly
Free Alternative and Entertainment Kansas City Weekly.
USA Today
Sold at boxes around the Plaza.
A variety of out-of-town papers is available at Barnes & Noble (420 W 47th) on the Plaza.
PHARMACIES
CVS
5011 Main
PharmaCare Specialty Pharmacy
5054 Main
They will deliver.
816-531-4699
816-561-7115
PLACES OF WORSHIP
There is a wide variety of denominations in the Kansas City area. Listed here are just a few that
are located close to the Rep and Homestead. For further options please consult the yellow pages.
BROADWAY BAPTIST CHURCH 816-561-3274
3931 Washington (39th @ Broadway)
CENTRAL UNITED METHODIST 816-753-1844
5144 Oak St.
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RIME BUDDHIST CENTER
AND MONASTERY
700 West Pennway
www.rimecenter.org
816-471-7073
ST. FRANCIS-XAVIER (Catholic) 816-523-5115
52nd and Troost
ST. PAUL’S EPISCOPAL
40th and Main
816-931-2850
UNITY TEMPLE
707 W. 47th St.
816-561-4466
VISITATION (Catholic)
816-753-7422
5141 Main
POST OFFICES/SHIPPING
Main
300 Pershing Ste 251
51st and Main
800-275-8777
800-275-8777
Westport
200 Westport Rd.
800-275-8777 or 816-861-9026
Kinko’s/FedEx
612 West 47th
816-960-2030
RECORDS, CDS, TAPES
Barnes & Noble
420 W. 47th
816-753-1313
Radio Stations AM
AM 580 WIBW
AM 610 WDAF
AM 710 KCMO
AM 760 KCCV
AM 810 WHB
AM 890 KGGN
AM 980 KMBZ
AM 1030 KCWJ
AM 1090 KEXS
AM 1140 KCXL
AM 1190 KPHN
AM 1250 KKGM
AM 1260 KXTR
AM 1340 KFEZ
AM 1450 KOKO
AM 1660 KXTR
News/talk
Country
Talk/news
Christian
Sports
Urban gospel
News/talk/sports/Royals broadcast
Christian
Southern gospel
Talk and music
Business to Business
Spanish
Classical
Adult contemporary Christian
Contemporary
Classical
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FM
FM 88.5 KLJC
FM 89.3 KCUR
FM 90.1 KKFI
FM 91.5 KANU
FM 92.3 KCCV
FM 94.1 KFKF
FM 94.9 KCMO
FM 95.7 KCHZ
FM 98.1 KUDL
FM 98.9 KQRC
FM 99.7 KYYS
FM 101.1 KCFX
FM 103.3 KPRS
FM 105.9 KLZR
FM 106.5 KCIY
FM 107.3 KNRX
Christian
NPR/public affairs/classical/jazz
Eclectic/cultural
NPR
Christian
Country
Oldies
Hits
Adult contemporary
Album rock
Real Classic Rock
Classic Rock/Chiefs broadcast
Urban adult contemporary
Alternative rock
Smooth jazz
R & B oldies
SHOE REPAIR
Deluca’s Westport Shoe Repair
318 Westport Road
816-531-2242
SPORTS TEAMS
Kansas City Chiefs
816-920-9300
www.kcchiefs.com
Arrowhead Stadium at the Truman Sports Complex
Member of the NFL’s AFC West Division
10 home games between August and November
Kansas City Comets
Independence Events Center
19100 E. Valley View Parkway
Independence MO 64055
800-745-3000
Kansas City Royals
800-6ROYALS
www.kansas-city.royals.mlb.com
Kauffman Stadium at the Truman Sports Complex
Member of Major League Baseball’s American League Central
81 home games between April and September
Express bus service from Plaza area, $3.00 round-trip.
Kansas Speedway
866-460-7223
www.kansasspeedway.com
Wyandotte County at I-70, I-435
400 Speedway Blvd. KCKs 66111
Nextel Cup, Busch, Indy Racing League
KC T-Bones
www.tbonesbaseball.com
May-August
Independent Northern League
913-328-5618
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Community American Ballpark
1800 Village West Parkway KCks 66111
Sporting KC (formally KC Wizards) 913.912.7600 (box office)
www.sportingkc.com
Legends Live Strong Park
One Sporting Way KCKs 66111
Member of Major League Soccer
18 home games between April and October
TENNIS COURTS
Plaza Tennis Center
4747 JC Nichols Parkway
816-784-5100
VETERINARY SERVICES (LESS EXPENSIVE)
Spay & Neuter Kansas City
816-353-0940
www.snkc.net
1116 E 59th St (NE corner 59th and Troost)
VIDEO AND DVD RENTALS
Blockbuster Video
905 Westport Road
Video Mania
208 Westport Road
816-531-4112
816-561-6397
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NOTES FROM CHAIR TOM MARDIKES
GOING TO KANSAS CITY:
Think of Kansas City as the puppy with big feet. Really big feet. KC probably has more
highway miles per capita than any metropolitan area in the world, and as a car town it’s easy and
fun to drive. Kansas City as a metro area has one of the most diverse economic engines in the
world. Major industries include telecommunications, architecture (especially sports arenas),
engineering, computer hardware and software, banking, mutual funds, agribusiness, and a lot of
government services. Some interesting statistics and apocrypha concerning Kansas City:
 More government per capita than anywhere else in the world- More land per capita than anywhere else in the world- More people attend performing arts than professional sports in a given year- More fountains than any city in the world, but Rome.
You probably are thinking you will be going to the State of Kansas. But the city is actually in
Missouri and 90% of your time will be spent in downtown KCMO, which is the largest city in
the State of Missouri. You will probably say Mi-ZOU-rie, but residents say Mi-ZOU-rah, and
it’s a nice ‘tell’ as to whether one’s talking to a local or a visitor.
Where New York astonishes in that you can have the wealthiest and poorest people right upon
each other, Kansas City is equally fascinating in that you can have the most educated and least
educated interacting, friendly and engaged. The mix of conservative and liberal seems evenly
split. To make things interesting KC also has a fair number of people who believe the world is
only 6000 years old and they only read one Book.
But everyone is quite polite and friendly; just basically avoid talking politics and religion, two
words that seem to have become synonymous. Otherwise, everything is cool. Kansas City is not
a busy city in an impersonal rush. People will give you a nod, a smile or a ‘hello’ while passing
on the street. Most even slow down a bit when driving through green lights. Really infuriates
east-coast types.
The Kansas City area is an expansive mix of urban, suburban and rural spread out over some 15
counties, with a population of over 2 million. The area is quite beautiful, with lovely green
rolling hills, many forested areas, large expanses of grass, and interesting bluffs overlooking the
river areas. Cyclists love Kansas City because they can actually go through all of their gears,
making cycling more fun. Great cooperation between the numerous cities and counties is a
growing an extensive system of trails to support that fun.
Missouri is known as the Show Me State, which can be translated as being a bit conservative and
cautious. It manifests itself in ways of being skeptical and difficult to convince. Area banks
maybe practice this the best. You really have to work to get a loan, and basically put up so much
collateral that you come away wondering if they only loan money to people who don’t need it.
But, it may work for them. None of our banks went through any financial difficulty these past
few months, and none needed or asked for TARP funds! And because of the diversity of
business and the cautious nature of embracing something totally new, this city never bursts with
activity the way Seattle or Denver have in the past. Because of that diversity however, Kansas
City never suffers harshly during economic downturns.
So Kansas City is spread out, diverse, yet in many ways unorganized and unconnected. Maybe
blame so much government: two states, 15 counties, 40+ municipalities. But every once in a
while this place comes together to really make something work, and it just might be that the 21st
century is the century for Kansas City, where the puppy becomes the big dog standing tall in the
middle of the country.
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GETTING TO KANSAS CITY
1972 must have been an amazing year for KC architectural firm Kivett and Myers: they opened
two astonishing public projects in Kansas City. The Harry S. Truman Sports Complex east of
downtown, included Arrowhead Stadium, home to the Kansas City Chiefs, and Royals Stadium
(now Kauffman Stadium) home to the Kansas City Royals. This sports complex became the
model for the future in American professional sport, and the team of architects who designed this
innovative project went on to turn Kansas City into the architectural sports design leader for the
world. Two big sports architecture firms in KC today are Populous (formerly HOK) and Ellerbe
Beckett.
And Kivett and Myers also opened the Kansas City International Airport. Most of our USITT
guests will arrive through KCI’s gates, and you should know that you will be flying into the best
airport in the world for the traveler! You get off the plane and are curbside within 100 feet.
Your baggage claim is probably less than 100 feet away. And when you leave Kansas City,
you’ll go through a security checkpoint that doesn’t serve 200 gates, but only about five at the
most. It’s great for people, and the airlines hate it. Kansas City has never been successfully
used as a hub, so about every flight in or out of the airport has KC as a destination.
There are actually three “C”-shaped terminals at KCI. The busiest carrier is Southwest Airlines.
The second largest is the new Republic/Frontier/Midwest wing formation. All other major
carriers have a presence: Continental, Delta, United, American, etc. Being in the middle of the
country makes it easy to be able to find a direct flight from most cities, and KCI serves about 40
directly.
A couple of weird things: (1) when booking, the airport code isn’t KCI, but for longstanding
reasons it is MCI (Mid-Continent International), (2) when you arrive, there isn’t a cab stand at
the curb, but find a cab phone in the terminal and order one from the cab stand (it’s quick), and
(3) when heading home at the end of your visit make going through security the last thing you
do. Restrooms, shopping and food services are in the public terminal sections, not post-security.
KCI Airport offers free Wi-Fi service.
KANSAS CITY: A DOWNTOWN RENAISSANCE
Kansas City probably thought is was getting a great deal when the new Federal Interstate
Highway System ran not just one highway through its downtown but two! Interstate 35 runs
from the Canadian border to Mexico, and Interstate 70 runs east/west across most of the country.
These new highways were brought directly into downtown where they bisect. It changed
everything. Before the highways, downtown Kansas City was the total focus of living in the then
20th largest city in the nation, and had plenty of mass transit in streetcars and some new busses
moving people in and out of downtown every day. Downtown theatres would run daily shows
with thousands of people attending, and the best of everything was to be had downtown. The
new highways however, cut a ring around a tight downtown area, essentially squaring it off from
everything else. First, all outside the ring began to die, and very soon, the inner ring began to
whither as well. The highways were used to ferry thousands of automobiles daily in and out of
this inner core, and Kansas City rapidly became a car town. The suburbs exploded and urban
flight left a devastating effect in its wake.
So if you visited Kansas City through in the 70’s, or 80’s, or especially the 90’s, you quickly
realized there was no reason to really be downtown, and no one ever was, unless you worked for
a bank or a government.
How things have changed in the new century! Some $4 billion in investment has led to an
amazing revitalization so when you come to Kansas City the downtown will have an interesting
‘new’ and vibrant feeling.
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th
The Kansas City Public Library at 10 & Central streets was the first of the new wave to open
downtown, in 2004. A marvelous 100-year old bank building is the centerpiece of this renovated
and expanded $50 million project. This main library features great visual beauty, wonderful
facilities, internet-accessing computers, books, movies, coffee shop, play-readings, lectures,
meeting and conference facilities.
The H&R Block World Headquarters at 13th & Main streets was completed in 2006 and features
one million square feet of office space in this unique oval design, an amazing art-enhanced lobby
and a 320-seat theatre shared with Kansas City Repertory Theatre.
The Sprint Center at 14th & Grand Streets now presents the major concerts and events for the
metro area. It celebrated it’s opening in 2007 with an Elton John show, but the real show was
Garth Brooks’ “One Artist, One City, One Time” event where he came out of retirement and did
nine back-to-back shows, only in Kansas City. Also part of the Sprint Center complex is the
award-winning College Basketball Experience that includes the National Collegiate Basketball
Hall of Fame.
Other projects completed in the Central Business District include: Bartle Hall Convention Center
expansion and renovation; IRS Headquarters; new Federal Reserve Bank of Kansas City
complex; the Whitaker Federal Courthouse featuring 21 courtrooms; National World War I
Museum at Liberty Memorial; Union Station renovation; advertising firm Barkley, Inc.’s
renovation of the former TWA World Headquarters; and nearly 3000 residential units spread
throughout the district.
The Power & Light District is where many USITT friends will be spending their free time. Stan
Durwood coined the name in the 1990’s. He was trying to develop a downtown renaissance with
a project that he named after Kansas City Power & Light’s (the local electrical utility’s) one-time
headquarters, the Power & Light Building. Durwood was a fascinating man who had an impact
upon the movie-going public worldwide. The 1960’s started with quite a number of movie
theatres downtown, but by the end of the decade (because of the interstates?) all that was left
where two huge movie palaces, the Empire Theatre and the Midland Theatre and the smaller
Roxy Theatre. Durwood owned them and was struggling to keep them full. He realized one day
that movie theatre labor in his theatres came in chunks, and that once the movie started his staff
didn’t have much to do. He struck upon the idea that he could show more movies on more
screens with the same labor force. He started by putting in small screens around the main
screens in the Empire and Midland. Soon he was opening multi-screen cinemas in the Kansas
City suburbs and the rest is history. His company? American Multi Cinema, or AMC, the
second largest movie theatre chain with over 4000 screens, and headquartered at 9th & Main
streets.
Mr. Durwood passed away before his vision of a Power and Light District could be realized, but
today it nears completion and centers around 13th street between Main and Grand, but is actually
an 8 square-block entertainment district which opened slowly in 2007 and now features some 45
restaurants, retail shops, bars and entertainment venues. Some of the establishments up and
running are the Lucky Strike Lanes (Hollywood) upscale bowling alley, Gordon Biersch
Brewing Company (Chattanooga) restaurant/bar, Genghis Grill (Dallas) stir fry, 801 Steak &
Chop House (Des Moines), Maker’s Mark Bourbon House (Kentucky) and Ted’s Montana Grill
(Atlanta). Some great Kansas City originals are The Bristol Seafood Grill and The Peachtree
Restaurant with great soul food. Taverns/bars are well represented by Flying Saucer Draught
Emporium, Johnny’s Tavern, Raglan’s Irish bar, Howl at the Moon Piano Bar, Angel’s Rock
Bar, PBR Big Sky and Shark Bar.
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UMKC: "TO LEAD IN THE PERFORMING ARTS"
Kansas City is big on the arts. It’s downright bizarre that a metropolitan area of nearly 2 million
people would see nearly one billion dollars spent in the first decade of the 21st Century in support
of the arts. A number of new theatres have been built. Several of the major performing arts
companies have built new administrative and production complexes. New galleries have
opened. The Nelson-Atkins completed a $200+million expansion and renovation. A designated
arts district was even created, known as the Crossroads and centered a few blocks south of the
downtown loop.
When the Kauffman Center for the Performing Art opened in 2011, this new $400+million home
for three of Kansas City’s major performing arts groups became the capstone project of this
developmental drive, with heightened hopes for the ballet, symphony and opera, as well as civic
impact upon the community. Created by the world’s leading designers in architecture, acoustics
and theatre engineering, the Kauffman Center begins a new era of expectation as the crown jewel
for the performing arts in Kansas City.
How did Kansas City come to deserve such a fine facility? How did Kansas City, as reported by
the Metropolitan Arts Council in 2007, actually sell more tickets to performing arts than
professional sports? How do Kansas City’s performing arts groups collectively have a greater
economic impact than professional sports?
This arc of performing arts development and growth started 50 years ago on what is now the
campus of the University of Missouri-Kansas City (UMKC). At that time this site was the home
of the University of Kansas City (UKC). In 1959 this private university, UKC, added the Kansas
City Conservatory of Music as a new college. In 1963 UKC was absorbed by the University of
Missouri System (UM) and became UMKC. In 1964, the Department of Theatre and Speech,
under the chairmanship of Dr. Patricia McIlrath, launched the UMKC Summer Repertory
Theatre, inaugurating the concept of a "Teaching Hospital for Theatre" in which theater students
could work side-by-side with theater professionals. In 1971 the UM System launched its Role &
Scope plan, designating certain campuses for the pursuit of excellence in specific disciplines.
UMKC was designated as Missouri’s Campus for the Performing Arts, and until the early 2000's,
the primary mission of UMKC was to "lead in the performing arts."
Over these fifty years UMKC has focused on the performing arts and funded these programs
accordingly. Exceptional faculties have been formed in the Conservatory of Music and Dance
and within UMKC Theatre. Where most UMKC students come from the greater KC area, the
performing arts programs recruit talented students on a national basis and have attracted a
consistent international pool. The university has supported the growth of the Summer Repertory
Theatre as well, which has grown over the last 45 years into the $7million annual budget LORT
Theatre known today as Kansas City Repertory Theatre.
As with any university, its greatest asset are its faculty and students. And the byproduct of
UMKC’s commitment to the performing arts has been its greatest gift to this city: faculty and
alumni are responsible for founding most of its major performing arts organizations.
Conservatory faculty or alumni are directly responsible for the creation of the Kansas City
Chorale, the Kansas City Ballet, the Lyric Opera of Kansas City, newEar Contemporary
Chamber Ensemble, Quality Hill Playhouse, the KC Chamber Orchestra, Bach Aria Soloists,
Wylliams/Henry Contemporary Dance Company and many more.
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Faculty and alumni of UMKC Theatre have founded KC Repertory Theatre, Coterie Theatre,
Unicorn Theatre, New Theatre Restaurant, the American Heartland Theatre, Kansas City Actors
Theatre, Martin City Melodrama, Gorilla Theatre and many more.
So the future of the performing arts looks bright for Kansas City, and it’s exciting to consider
this wonderful synchronicity between 50 years of growth toward the Kauffman Center for the
Performing Arts and 50 years of celebrating the wonder that is USITT, all coming together in a
renovated downtown Kansas City looking forward to a wonderful new era.
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