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Fall 2006For those who love theatre at Niagara University

Friends of Niagara University Theatre

NU Mourns Passing of Tim WardTimothy Emerson Ward, 69, of

Niagara Falls, N.Y., entered into reston Sept. 3, 2006, at his residencewhile under the care of NiagaraHospice. Born on June 23, 1937, inEvanston, Ill., he was the son of thelate Thomas and Frances (Emerson)Ward. On Feb. 29, 1988, he marriedthe former Rebecca Stickney.

Tim received a B.A. in theatre artsfrom Stanford University and SanFrancisco State College. He workedwith the San Francisco Actors’Workshop as director and productionstage manager. Later he joined theVivian Beaumont Theatre in NewYork City, where he was a directorand production manager for theRepertory Theatre of Lincoln Center.In addition to his work with theNew York Film Festival, he was a

managing and artistic director for theComedy Stage Company in NewYork City.

The former general manager of thetheater at Artpark, Tim also taught atthe primary and secondary levels atBrooklyn College and he spent nearly30 years serving as faculty member inthe department of theater and finearts at Niagara University. He wasalso associate director of NiagaraUniversity Theatre, where hisdirecting credits included literallyhundreds of productions.

Tim began outreach programs inthe New York State Prison Systemand the Niagara Summer Fine ArtsProgram. He was a member of theActors’ Equity and was inducted into

Niagara University’s President’sHonor Society, Sigma Alpha Sigma,in 2005. He was an avid sports fanwith a concentration on golf in thepast several years.

In addition to his beloved wife of 18years, Tim is survived by onestepdaughter, Anne (David) Dreiling ofFranklin, Tenn.; three children, LukasWard of New York City, and Katherineand Zakary Ward, both of NiagaraFalls, N.Y.; two stepsons, Benjaminand Nathan Zindle, both of NiagaraFalls, N.Y.; three grandchildren andthree great-grandchildren. Tim is alsosurvived by one sister, Faith Ward ofNew Herald, N.Y.; one brother,Michael (Alexandra) Ward of Santa Fe,

See TIM, continued on page 2

Celebrating the Life and Legacy of anExtraordinary Man

At the Sept. 11 “Celebration of the Lifeof Timothy Emerson Ward,” a number oftouching tributes were shared by Tim’sstudents, family and colleagues. FromMozart to Donavan, beautiful music thatTim loved added unspeakable grace to theevening. A slide show shared preciousmoments from Tim’s life, celebrating hisdeep love of family, friends and his sacreddevotion to his students and the theater.

Hundreds of people filled theauditorium at Niagara Falls HighSchool, and many were formerstudents who had flown in from LosAngeles, Washington, D.C., NewYork and other cities. Distancestraveled didn’t matter. What

mattered was that those whocherished Tim could join togetherand share stories about the impactthis remarkable man had had upontheir lives.

Rebecca Ward, Tim’s wife, notedthat Tim would have loved thememorial service and she said that allfriends, colleagues, alumni andstudents are encouraged to continueto share their fond remembrances ofTim Ward.

The Ward family asks that all e-mail messages be sent to:[email protected]. Tim’s

See LEGACY, continued on page 2

Friends of Niagara University Theatre2

TIM, continued from page 1

N.M.; and several nieces and nephews.He was predeceased by one brother,John Ward.

A prayer service led by the Rev.John Maher, C.M., was held atNiagara University on Sept. 7 and acelebratory memorial servicecoordinated by two of Tim’s formerNU Theatre students, JoeChristopher, ’06, and Ryan Murphy,‘04, along with the Ward family andNU alumni, faculty and students,was held on Sept. 11 at thePerforming Arts Center of NiagaraFalls High School.

Memorial offerings may be madeto the Tim Ward Scholarship Fund,c/o Niagara University Office ofInstitutional Advancement, P.O. Box2008, Niagara University, N.Y.14109. Online donations can bemade at www.niagara.edu, NiagaraUniversity’s home page. Just scrolldown to the bottom and double-click on “Make a Gift to NiagaraUniversity.” Please refer to theinstructions on the site to specifythat your gift is a tribute in honor ofthe Tim Ward Scholarship Fund.

sons, Lukas and Zak, will be creatinga “My Space” Web site in his honorin the near future. Condolence cardsmay be sent to Mrs. Rebecca Wardand the Ward Family at 741 FourthSt., Niagara Falls, N.Y. 14301.

What follows is a sample of themany tributes that have been writtenand shared with Tim’s family over thepast several weeks. Due to spacelimitations, only a few of the tributesappear in this article, along with afew quotes from the Ward family.

“Tim’s goal for his freshmen actingstudents and for their entirefreshmen year each year was to givethem back their courage and to freetheir creativity. Protecting the safetyof his students’ spirits was soimportant to Tim.”

—Rebecca Ward

“It is surely an understatement tosay that Tim will be sorely missed forhe was one of the founders andinspirations for the theater departmentat Niagara University. He touched

LEGACY, continued from page 1

numerous students over the years in hisspecial, wonderful way. He was creativeand intelligent and always positive, andfound good in every student andperson with whom he came in contact.He himself was a great and good man.There will never be another like him.”

—Brother Augustine Towey, C.M.,director emeritus

Niagara University Theatre

“Tim was the voice of reason inthis maelstrom called theater. He wasalways able to offer sound, rationalsolutions to what seemed, at times,insurmountable obstacles. And, moreimportantly, he had that rare abilityto make everyone feel special andunique.”

—Dr. Sharon Watkinson, chair,Department of Theater and Fine Arts

“I had the rare opportunity toforge two relationships with Tim—the first as a student and, seven yearslater, as a colleague. As anundergraduate, I sought his adviceon many things and spent a gooddeal of time in his office wrestlingover various college-life quandaries.Thinking back I am amazed at hispatience, and his ability to listensteadily to all that was being thrownat him. Ninety percent of the time Iwould leave his office, not havingreached any solutions yet with anunexpected sense of clarity. It was nogreat surprise to me to learn that in1984 Tim got his master of science atNU in education and counseling.

“Returning to Niagara in 2002, Iforged with Tim a new type ofrelationship. I’d grown up a bit, I’dbeen out in the professional theater,lived in the heart of New York Cityfor several years, and I’d begun tounderstand what that aggravatingever-present term, “the real world,”was all about. Once again sitting inthat wonderful chair in that greatoffice, which, just like Dr. SharonWatkinson, looked exactly as it had

NU professor Tim Ward directed a crew of talented actors and behind the scenes technicians, andpresented an enticing version of the hit Kander and Ebb musical, “Chicago” for the Niagara Fine ArtsProgram in Niagara Falls, N.Y., during the summer of 2005. From left, a few members of the cast andcrew: Ian Tweedie, ’05; Patrick Moyer, ’07; director Tim Ward; Tim Stuff; M. Joseph Fratello, ’07;Shawn Brewer; and Gregory Pragel, ’04.

Friends of Niagara University Theatre 3

seven years earlier, our conversationswere now more balanced—twopassionate individuals talking aboutthe theater, about the process ofteaching, the process of learning,about young performers, aboutplaywrights, about movements, and,perhaps most fascinating of all, aboutTim’s personal experiences in theAmerican theater. Believe me, onewould be hard pressed to competewith stories that come from onewhose life experience includeddirector and production stagemanager of the San Francisco Actors’Workshop, director and productionmanager for the Repertory Theater ofLincoln Center, managing andartistic director for the Comedy StageCompany, the New York FilmFestival, general manager of Artpark,coordinator of outreach programs inthe New York State Prison System,creator of the Niagara Summer FineArts Program, and director of literallyhundreds of productions at NiagaraUniversity. I feel so privileged to haveknown this extraordinary man!”

—Brendan Powers, ’96, artisticdirector, Niagara University Theatre

“Tim: rocking back and forth onhis clogs, hand on chest, letting out asigh, followed by a big smile and aburst of deep laughter—what moresupport could one young performerneed? What am I thinking? He notonly was validating my work but myvery existence!”

—Victoria Buda, ’98

“I will always remember Tim’sadvice to his actors: ‘As an actor youhave a job to do. That job is to tell astory.’ As a choreographer, I willalways remember this and always tryto use dance as a means of telling astory. Thanks, Tim.”

—Gracie Schupp, choreographer

“It may be a strange comparison,but in retrospect, I think I found

counsel and comfort in Tim becausehe reminded me of ProfessorDumbledore from ‘Harry Potter.’Tim’s rare spirit was warm, full of witand wisdom, and, in several ways,magical!”

—Kelly Konecko, ’09

“Tim taught me a lot abouttheater: actions, verbs, beats, andintentions. All things integral to aperformer’s craft. But mostimportantly, he taught me how toabsorb and appreciate everything andeveryone around me, which isintegral to leading a better life.”

—Katie Swimm, ’06

“Tim will always be the onlyperson who can call me “Mo” andhave me respond happily.”

—Maureen Stevens, costume designer

“I was one of the first students atNiagara to cross his magical path …When I told him I wanted to write,he said ‘write the damn thing.’When I told him I wanted to direct,he said ‘why not?’ When I told him Iwas lost, he said ‘open your eyes.’ I

shall deeply miss this man. Thegreatest of all mentors. My belovedfriend. I find it strange that hispassing happens just as I begin myfirst year as assistant professor oftheater at Southern Utah University.Tim will always be with me. Restassured his memory will be honoredin each class I teach.”

—Peter Sham, former student

“Tim Ward was comfort. Hisguidance and openness in and out ofthe classroom provided me with theconfidence to make choices, makechanges and believe in what I couldbecome.”

—Jim DeVivo, ’99

“Our beloved daughter TaraLaurie, who passed away two yearsago, often told us how fortunate andblessed she was to have Tim Ward asher acting professor. Tim and Tara aresurely in the land of actors andplaywrights … all the greats whohave gone before us are now in theirillustrious company.”

—Don and Janice Laurie

See LEGACY, continued on page 4

Tim Ward, center, enjoying a luncheon with his dear NU Theatre colleagues Brother Augustine Towey,C.M., and Dr. Sharon Watkinson.


“I feel like Tim had a way ofmaking everyone who shared timewith him feel the way you feel whenreceiving a huge hug—loved andsafe. Safe to make decisions both onand off stage, safe to trust yourinstincts, safe to share how you feltand express your opinion. He maynot have always agreed, but soonenough he’d sweep you back intothat hug feeling, because hegenuinely believed that each personhad unique gifts and talents toshare.”

—Kristen Smiley, ’07

“When I was about 10 years old,Tim Ward was my neighbor … Hesurmised I was a little ham and lovedtheater, so he invited me to see adress rehearsal of ‘Joseph and theAmazing Technicolor Dreamcoat’ atArtpark with my family. From thenon, I always looked at NiagaraUniversity Theatre as my destiny …When you were a student at NU,you’d creep up to Tim’s office door,take a peek, and laid-back ‘BrotherTim’ would usher you in like he hadall the time in the world to discuss

where your character was headed inrehearsals or the progress on the one-act you were directing. He’d rev youup with a constructive pep talk andwould send you on your way. You’dalways feel confident and capablewith the choices you made.”

—Lona (Geiser) LaChiusa, ’93

“One of the most important thingsTim ever told me was that theatershould be shared with everyone, andthat anyone who had a passion for itshould follow that passion whereverit leads. At that time, he was guidingme and a fellow student through thearduous process of opening our owntheater. This led me to follow mydreams of stage management andtech work. I’ll never forget Timbecause he was more than a teacherand a friend. He was an inspiration.”

—Dan Schmidt, ’05

“Tim cast me in my first and lastshows at NU Theatre. He saw thetalent in everyone, saw what theyhad to give. He didn’t try to makeyou any better than you were, youjust became better because of him. Ithink it was his spirit, his passion,especially his intoxicating laughter.When Tim directed, you becamemagical. There was no show, no set,no actors. There was just this specialcharacter you became and it was easyto believe. I really will miss him.”

—Amanda Tech, ’05

“Tim Ward was one of the coolestguys I’ve ever known. I can’t say itany more plainly than that.

“I’ll never forget the first time Imet him. ‘Wow, who is this guy?’ Ithought to myself. I smiled as soonas I laid eyes on him. ‘Who is thisstrange, tall man with a ponytail,wearing a poncho and sandals (withsocks)?’ He also had one of thebiggest, warmest, most welcomingsmiles I’d ever seen.

“He introduced himself as Tim.

He went around the class andwelcomed everyone individually. ‘Wellwelcome, Brother Robert.’ ‘Welcome,Sister Robin.’ ‘Welcome, BrotherDoug.’ And finally, pointing at me,with his hip cocked out, ‘Welcome,Brother Brendan.’ I was hooked.

“I walked out of that classroomthinking, ‘Man, that Tim Ward is justabout the coolest guy I’ve ever met.’

“Tim was simply the best andmost influential acting teacher I’veever had, and I’ve had plenty. Tim’sadvice was very simple; be yourselfand have fun. Have fun. It’s sosimple. He always stressed that. Ican’t overstate how much that advicehas sustained me as an actor andwriter over the years. If you chooseshow business as a career, it’s oftenvery, very easy to forget why the hellyou’re doing this in the first place.

“Tim left an impression on all ofus that went well beyond theclassroom. As a testament to that,whenever a group of theater alumniget together, much of the discussionis spent sharing Tim Ward storiesand impressions. Tim Ward has to bethe most quoted and imitatedteacher in the history of NU. Theguy was a walking soundbite.

“I like to think that as we speak, inthe big theater department in thesky, Tim is directing Brando andOlivier in ‘Midsummer Night’sDream.’ And right now Tim iswearing a down jacket, with ducttape covering the holes, pointing atBrando, hip cocked out, and saying‘Brother Marlon, your soliloquy wasdelightful, real great fun.’”

—Excerpted from tribute byBrendan Connor, ’94

“To me, Tim was my champion. Ifhe was in his office I could never passwithout being hollered at to comeback and talk. He made sure I knew Iwas special and that I really didmatter. But that was just it. Timmade sure everyone knew they were

LEGACY, continued from page 3

Tim Ward in his younger days


special. That’s what made himmatter to me.”

—Charlotte Colby, ’08

“I am so unspeakably grateful forhaving the opportunity in my life toknow and work with a human beingof that greatness and quality. Hetaught me so much about how to bea good artist, student and person.”

—Victoria Kuper, ’06

“It was a profound blessing toknow Tim and his wife, Becca, and tobecome good friends with this dear,loving couple. Tim will never beforgotten not only because of hislegacy as a great teacher, director andloving husband and father, but alsobecause he found goodness ineveryone. He had kind words forall—from students to staff, faculty tocleaning ladies. We all were ‘dearhearts’ or ‘sweet peas’ in Tim’s eyes.And that laugh! Hearing Tim’sirrepressible laugh immediatelytransported me back to my days atWNED-TV Public Television inBuffalo. Each time he laughed, hesounded like a close relative of the‘The Count’ on ‘Sesame Street!’Tim’s hearty laughter always madeeveryone smile, and remember howgood life is. Without question, Timwas an artist and inspiration—notonly in the theater and in theclassroom, but also in every facet ofhis life. His consistently passionate,inquisitive, joyful, kind, and colorfulapproach to life, I believe, is reflectedin a quote from the late Danny Kaye,one of the musical stars Tim told mehe so enjoyed:

“‘Life is a great big canvas and youshould throw all the paint on it youcan.’”

—Ann Heuer, ’78, Secretary andMedia Coordinator

“As an instructor of mine back inthe 1980s, Tim Ward was the finestof the fine. He was always able to

bring out the best in an actor and hedid so in a manner that never madeus take ourselves too seriously. Thatwonderful man always tried to keepthings ‘light’ while still instilling inus the benefits of his vast theaterexperience.”

—Jean Pettit, former student

“For me, Tim was the epitome ofgoodness, the essence of selflessness,and the exemplar par excellence ofeverything I long to be. Theunderstated patience in which Timabsorbed life has become an acquiredvirtue of mine. I have learned to bemany things but none will compareto the ability to listen as Timlistened. I believe I am not only abetter person for knowing Tim butalso a very different person: a kinderperson, a more patient person, aninvested person in the life I lead andwith those I come in contact with.Tim will live on in my creative spiritboth instinctually and intrinsicallyfor he will continue to shape mycharacter both on stage and in reallife. I am forever grateful to Tim’sfamily for sharing this wonderfulman with the world, and mostespecially for sharing him with me.

—Joe Christopher, ’06

“What kept Tim kind and brave andat peace to the very end? Whatsustained ‘Brother Tim?’ Water was hissanctuary. Rehearsals were his temple.Revealing humanity through plays washis covenant. Working the soil was hismeditation. Discovery was his rapture.Respect without regard to station washis god. He was a disciple of thewounded, the overlooked and thelonely amongst us.”

—Excerpted from “A SpiritualMan,” a tribute to Tim Ward, written

by a Ward family member

“Every time I would check mymail in the theater office I wouldstop in to see Tim. Sometimes his

door was only partially open and Iwould sheepishly peek in. He wouldalways say, ‘Is that you, Steps?’ Healways had time to talk. Tim’skindness, graciousness and incrediblecaring nature was as vast as theuniverse. His warmth reaches us fromfar beyond this earthly existence. Hislight will shine brightly in our heartsand minds until time ceases to exist.We love and miss you Tim!”

—Gary Marino, adjunct balletprofessor

“The Russian novelist FeodorDostoyevsky once said, ‘If you wishto glimpse inside a human soul andget to know a man … just watch himlaugh. If he laughs well, he’s a goodman.’ Tim Ward, professor andadviser, leader and listener, father andfriend, has an unmistakable laugh.Like all that Tim offers, it is strongand resounding, stemming from truegenerosity and sincerity. I know I amnot alone in saying that Tim Wardtruly defines the Vincentian spirit oflove and service. Selfless and genuinewith all he does, he is a man that‘laughs well.’”

—Katie Mallinson, ’05


Productions Directed by Tim Ward

Niagara University TheatreGypsy

Dancing at LughnasaThe Way of the World

Sweet CharitySongs for a New World

The Last Night of BallyhooSix Characters in Search of an Author

Dear WorldYou Can’t Take It With You

HarveyThe Caucasian Chalk Circle

AntigoneRomeo and Juliet

The Mystery of Edwin DroodThe Seagull

Little Shop of HorrorsMurder on the Orient Express

The Dining RoomAnything Goes

AnnieVincent in HeavenNo, No Nanette

Love’s Labours LostThe Boys Next Door

CinderellaThe Servant of Two Masters

The Children’s HourNoises Off

Joseph and the Amazing TechnicolorDreamcoat

Playing For TimeCrimes of the Heart

San Francisco Actors’ WorkshopThe Rooming House

The DumbwaiterThe Chalk Garden

Ten Nights in a BarroomThe CollectionThe Sandbox

Comedy Through the AgesTragedy Through the Ages

Repertory Theater of LincolnCenter

The Year Boston Won the PennantRepertory in Action

NaturalLorca’s Songs and Poems

Antigone

Theater for the Forgotten (New YorkState Prison System)

Light Up the SkyNo Place to Be Somebody

My Sweet Charlie

The Comedy Stage CompanyThe Doctor in Spite of Himself

The RelapseThe Servant of Two Masters

The Wakefield NoahThe Miser

The Birthday PartyLoot

The Real Inspector HoundA Marriage Proposal

Bags of RagsEveryman

Act Without Words IA Day in the Death of Joe Egg

The Boston Shakespeare Companyand other theaters

She Stoops to ConquerWho’s Afraid of Virginia Woolf?

The MousetrapThe Alchemist

Spring at MarinoAlladin

The Prince Who Couldn’t LaughThe Miser

According to Tim’s family, “rehearsalswere his temple.”

The Cherry OrchardAgnes of God

The Miracle WorkerGuys and Dolls

MacbethBlithe Spirit

The Skin of Our TeethThe House of Blue Leaves

LysistrataStage Door

Women Times WomenThe Common RoomAlice in WonderlandThe Country Wife

Merry Wives of WindsorSouth Pacific

Of Mice and MenPrivate Lives

A Funny Thing Happened on theWay to the Forum

Charley’s Aunt

ArtparkBig River

Bye Bye BirdieJoseph and the Amazing Technicolor

DreamcoatPut On a Happy Face

NunsenseThe Fantasticks

AnnieIdols of the King

The Bristol Valley PlayhouseThe Nerd

The Unexpected Guest

Niagara Summer Performing ArtsLi’l AbnerOklahoma!Carousel

Bye Bye BirdieSouth PacificHello Dolly!

Guys and DollsAnything Goes

Children of EdenAlways Patsy ClineSwingtime Canteen

Peter PanChicago


Michael and Maria Arena, right and second from right, will co-chair the 22nd

Annual Friends of Niagara University Theatre Gala along with Robert J.Clune, Esq., ’58, left, and his wife JoAnn G. Clune, second from left. The Clune’sdaughter, Elizabeth, front row, center, will play a walk-on role in NU Theatre’sproduction of “Fiddler on the Roof” on the day of the Gala.

Arenas, Clunes and LeCuyers to Chair22nd Annual GalaBy Ann Heuer, ’78

Michael and Maria Arena ofClarence, N.Y., will serve as co-chairsof the 22nd Annual Friends ofNiagara University Theatre Gala,

along with last year’s Gala chairs,Robert J. Clune, Esq., ’58, and hiswife, JoAnn G. Clune, of Ithaca,N.Y. The event will be held oncampus on Saturday, April 21, 2007.

This year’s auction chairs areWilliam and Pamela LeCuyer ofGetzville, N.Y. Their daughter, Lisa,is a junior in NU’s theater studiesprogram, while the Arena’s daughter,Lauren, is an alumna of the program.

Last spring, the Clunes, togetherwith their daughter, honorary chairElizabeth Clune, and the Arenas,auction chairs, hosted the theater’smost successful Gala to date with thehelp of the Friends board and morethan 150 guests.

At last year’s Gala auction,Elizabeth Clune bid on—and won—the once-in-a-lifetime opportunity toplay a walk-on role in the 2007 Gala Auction chairs William and Pamela LeCuyer.

matinee production of “Fiddler onthe Roof.” Passionate about thetheater and musicals, Elizabeth isdelighted to be part of the cast for

the Galaperformance ofthis Broadwayhit.

This year’sGala willinclude a 4 p.m.matinee of“Fiddler on theRoof ” at theLeary Theatre,followed by acocktail hour,silent auction,elegant dinnerand a visit fromthe cast andcrew of the NUTheatreproduction atthe Castellani

Art Museum on Niagara’s campus.For tickets and information, contactGala coordinators Peg Lacki at 286-8483 or Ann Heuer at 286-8480.

Editor-in-Chief:Brendan Powers

Artistic Director, NU Theatre

Managing Editor:Ann Heuer

Secretary and Media Coordinator

Editorial Consultants:Dr. Sharon WatkinsonChair, Department ofTheater & Fine Arts

Brother Augustine Towey, C.M.Director Emeritus

Peg LackiBox Office Supervisor/Secretary

Photographers:Ann Heuer

Fred HeuerAssistant Vice President for

Marketing

Jim BushPhotographer

Editing and DesignLisa McMahon

Associate Director for Publications

Please e-mail story ideas toBrendan Powers at

[email protected] to Ann Heuer [email protected].

News and photos can also bemailed to:Ann Heuer

Managing EditorNiagara University Theatre

P.O. Box 1913Niagara University, N.Y. 14109

Deadline for submissions for thewinter/spring issue is

Jan. 10, 2007.

Friends of NiagaraUniversity Theatre

Newsletter


Casey Returns as InterimProfessor, DirectorBy Ann Heuer, ’78

Professionalactor Neil A.Casey, ’91,has returnedto his almamater foracademic year2006-’07 toserve as afacultymember,teaching

several courses in the department of theater and fine arts,and directing “Vincent in Heaven” by Brother AugustineTowey, C.M., the opening production of the season.

“The Niagara University theater department holds aspecial place in my heart and I am absolutely thrilled anddelighted to return as a member of the faculty,” Caseysaid. “When I look back at my time at Niagara, manyfond memories come to mind. The education I received asa student was unsurpassed and I look forward to theopportunity to pass along my knowledge and lifeexperience as a professional actor to the current studentsin the program.”

Casey has also studied acting at the London Academyof Performing Arts under David Perry. He has taughtacting at The University of Massachusetts in Boston andhas been an active member in the Boston theatercommunity for a number of years. As a professionalEquity actor, he has worked at a number of Boston-areatheaters including the Huntington Theatre Co., The LyricStage Co. of Boston, SpeakEasy Stage, North Shore MusicTheatre, Jewish Theatre of New England and TheStoneham Theatre. He is also a company member of thelong running comedy, “Shear Madness,” and hasperformed in both the Boston production and theWashington, D.C., production at The Kennedy Center.Other credits include a national tour of “The Diary ofAnne Frank” and a European tour of “42nd Street.” Histelevision work includes a number of national andregional commercials including AT & T, IndependentInsurance Agents, Comcast, Tennessee National Bank, andthe New Hampshire Lottery.

CostumeTechnologistDeightonJoins TheaterDepartment

Marilyn Deighton knowsfirsthand that second careerscan fulfill dreams. A formerdental hygienist, Deightontaught herself to sew at age16, creating her ownwardrobe and creatingcostumes for her local 4HClub in Florida. As anadult, she volunteered tomake costumes for over 200 productions in the FloridaTampa Bay area for various dinner theaters andcommunity theaters, winning numerous awards for heroutstanding costumes that were “built from scratch.”

“Later in life I decided to do more with costuming so Iwent back to school for my BFA and my MFA in costumetechnology from the North Carolina School of the Arts,”Deighton noted.

Prior to joining the Niagara University theaterdepartment as a faculty member this summer, she was alecturer and draper/tailor at the University of Maryland–College Park. Earlier she served as an assistant professor ofcostume technology at the University of Mississippi.Professionally, Deighton has been the costume shopdirector for Paper Mill Playhouse in its New York CityCostume Shop; costume director for the ColoradoShakespeare Festival; shop manager for the North CarolinaShakespeare Festival; and a freelance men’s tailor for TheShakespeare Theatre, Arena Stage and Wolf Trap Opera inthe Washington, D.C. area. In addition, she was a tailorfor the Broadway version of “Bring in ’da Noise, Bring in’da Funk” designed by Paul Taswell and a draper for theRobert Altman film, “Cookie’s Fortune,” starring GlennClose and Julianne Moore.

By Ann Heuer, ’78


Focus on Alumni: Drama Kingby Andrew Z. Galarneau, courtesy of The Buffalo News

Ever since he was an Amherstteenager, Paul Todaro, ’87, has ruledthe stage. He was 15 years old when hewon his first big role—“Charlie” in theAmherst High School production of“Flowers for Algernon.”

In the play, Todaro’s characterbefriends a laboratory mouse named“Algernon.” To prepare, Todarosecretly took the mouse home. Hespent hours with the tiny whiterodent, talking to it like Charliewould talk to Algernon, until themouse knew its part.

When the show opened, there wasAlgernon, perched on Todaro’sshoulder.

“He trained that mouse to go upand down his arm,” said formerAmherst High School drama directorFrank Cecala, marveling 25 yearslater. “I’ve seen other high schoolproductions. They don’t bring themouse out, or the mouse is in a cage.But even at 15 years old, this wasPaul’s meticulousness of detail.”

That drive to master the detailshas helped Todaro become one of ahandful of people in Buffalo makinga living entirely from theater. Ifyou’ve been to Shakespeare inDelaware Park or a score of otherBuffalo-area productions in recentyears, you’ve seen him.

Between acting in localproductions, directing plays in mostof the city’s theaters and teachingacting at his alma mater, NiagaraUniversity, Todaro hasn’t been forcedinto a “day job” to pay the rent.

Buffalo has earned a reputation as acity with a stronger theater communitythan the surrounding economy wouldseem to dictate. That’s mainly becauseof a dedicated core of semi-pro andprofessional players like Todaro, whohave starred on larger stages yetsettled in Buffalo because they could

live here more comfortably whilethey pursue their work.

With his wife Michelle Gigante,’87, Todaro returned from NewYork City in 1997. The couple,who married in 1993, had beenrunning the successful off-off-Broadway Independent TheatreCo. for a decade before beingforced out by rising rents. Theydecided to come home for a year,to recharge.

“Been here ever since,” Todarosays with a shrug.

All these years after Algernon,he’s still sweating the details.

“It’s motivated mostly out offear, to get it right, so that thething won’t run off stage and you’releft with egg on your face,” he said.“That’s the most terrifying thing inthe world, to be on stage, so youwant to fill up the void with things.”

A Versatile ActorOnce he starts talking you’d never

pick Todaro out as the professionalactor in the room. He respondsslowly and quietly to questions,slighting his own success.

Ask him, “How do you train amouse, anyway?” and he says, “I justtried to get it to do what I wanted it todo, by doing it over and over again. Iguess you train a mouse the same wayyou train an actor. You keep doing ituntil it becomes familiar.”

So much for taking airs.Todaro’s unassuming approach to

acting was apparent even in highschool, said Cecala. “Your dramaclubbers tend to be your extroverted,backstabbing kind of people,” butTodaro seemed introverted.

“Then you’d see him get on stageand just break out into thesecharacters, and you would wonder,‘Where did this come from?’”

Even after returning from a decadeof work in Manhattan and somedecent reviews in the New York Citypress, Todaro has been quietlyexcellent in his role as a teacher ofacting, said Brother AugustineTowey, C.M., Niagara University’sformer longtime drama director.

“He doesn’t sing his credits all thetime,” said Towey, who jumped atthe chance to hire Todaro in 1999.“He doesn’t proclaim how wonderfulhe is. He’s very, very humble. Andthat creates a certain charm.”

Together with his versatility, that’swhat keeps Todaro working steadily,said Saul Elkin, the University atBuffalo theater professor who runsBuffalo’s Shakespeare in DelawarePark festival.

“It’s his really extraordinary rangeand flexibility as an actor,” saidElkin, who has frequently acted withand directed Todaro, including inthis summer’s productions of “Love’sLabour’s Lost” and “Twelfth Night.”“He handles the language as well asanybody I’ve ever heard anywhere.He’s that good.”

See TODARO, continued on page 10


In June, as his role in “Celadine”was wrapping up at the KavinokyTheatre, Todaro had startedrehearsals for his Shakespeare inDelaware Park roles.

“When you’re outdoors, you’recompeting with barking dogs, birdsflying by, a gorgeous sunset,” he said.“So you have to do it a little bigger.”

Contrary to popularmisunderstanding, the real work inacting isn’t the memorization oflines, he said. “The brain’s like amuscle—the more you work it, theeasier it gets.”

No, the real work is finding

something in the play, in the character,to drive actions on stage. “Emotion isthe byproduct of action—we’re actors,not emoters,” he said. “You don’t laughor cry because you felt something.Something happened.”

That genuine experience is theater’sstock in trade, unique happenings withenough attraction to mass audiences tokeep theater viable against the on-slaught of movies and television andeverything else.

When something happens on thestage, it’s a singular moment, shared bythe people in the room and no oneelse, he said. “It can’t be perfect—andthat’s what’s good about it.”

The Reward of ApprovalTodaro grew up in Amherst, the

son of an ad agency artist, and thesecond of four siblings. He playedLittle League baseball for eight years,but did miserably. “My dad was thecoach, and I was in right field foreight years,” he chuckles.

Everyone had to take part in playsin the fifth and sixth grades, he said.So it wasn’t until his friend DavidJohann Kim convinced him to join asummer drama club that hetook the stage voluntarily.That’s when he felt thereward of approval for thefirst time, a payoff for hiseffort on stage. “That tastedvery good,” he said. “I wasdrawn to it.”

At Amherst High School,Todaro worked through twodramas and a musical eachyear. He graduated in 1983and headed for NiagaraUniversity’s drama program.

In his sophomore year hemet his future wife,Michelle, a dancer fromNorth Buffalo, in aproduction of “Macbeth.”His Niagara diploma says

“English,” but after six plays a year,he really majored in theater.

His friend Kim also pursued anacting career, and got Todaro his firstwork after college. He’d moved toNew York City without a job, butKim was already in the cast of anIndependent Theatre Co.production.

“One of the actors had been fired,after a fistfight,” Todaro said. He hadfour days before the show opened torehearse his lines.

He would end up running thecompany, in partnership withMichelle, for the better part of adecade. The seedy Lower East Sideneighborhood had hookers on thestreet corners, but the rent was cheapenough to let the company take riskson the shows it presented.

“Our main partnership grew out ofthat,” said Gigante, who today teachesyoga at East West Yoga studio, anddance at Buffalo Contemporary Dance.

She would direct and he would act,or vice versa, while they took on theadditional task of managing thebuilding. “We worked 14 hours a day,”Gigante said. “This was our baby.”

In April of 2007, Paul Todaro will play “Tevye”in Niagara University Theatre’s production ofthe acclaimed musical, “Fiddler on the Roof.” Helooks forward to working with the cast of NUstudents and the production’s director, BrotherAugustine Towey, C.M. In 2002, NiagaraUniversity students also had the goldenopportunity to work with Paul when he starredas “Grand Pere” in NU Theatre’s production ofthe Kander and Ebb musical, “The Happy Time.”Here, a scene from that production shows “GrandPere” (Paul), right, giving sage advice to “Jacques”(Damian Vanore, ’02).

In the summer of 2005, Paul Todaro stole the show as ahumorous “Mercutio” in Shakespeare in Delaware Park’sproduction of “Romeo and Juliet.” Later in the summer heplayed the lead in “Hamlet.” Here he shares the stage withNU alumnus Louis Colaiacovo, ’99.

TODARO, continued from page 9


Renaissance ManKim, the best man at their wedding,

made their partnership the point of hiswedding toast. “To be able to see acouple work like that, you go, ‘Ohthat’s how it should be. That’s how itcan really work.’” he said.

The company drew laudatoryreviews for tackling difficult plays,absurdist comedies and existentialistdramas rarely produced, even in NewYork City. On top of his otherresponsibilities, Todaro also composedmusic for several productions.

Actor, director, composer.“That’s the thing that’s so amazing

to me about Paul,” said PaulBargetto, a fellow troupe memberwho’s now the artistic director of EastRiver Commedia. “He really is kindof a Renaissance man.”

Bargetto remembered a typicalTodaro moment from rehearsals ofthe play “Out at Sea,” wherein twostarving men in a lifeboat try toconvince a third to serve himself upfor food.

Stalling, the intended victimwashes his feet, and hands the towelback. “Paul took the towel andtucked it into the top of his shirt,like a bib, or napkin, before hewould eat him,” Bargetto said.

“It was this moment that was soperfect, no one ever could havethought of, sprung out of themoment, and it just brought thehouse down every night,” Bargettoremembered. “Chilling and hilarious,all wrapped up in one.”

The company’s goals were simple,said Gigante. “It didn’t really matterif they liked it. If it just kind ofevoked something or woke them up abit in some way, shape, or form, wewere happy.”

But the real estate went up andGigante got worn out, she said. In1997, they came home, planning apit stop.

A Teacher’s RoleThat was nine years ago, of course.

He’s been working steadily, betweendirecting, acting and teaching, andshe’s been teaching as well. The senseof community in Buffalo is anotheringredient in the glue, Gigante said. “Iwalk outside my door and I say ‘Hi’ toprobably a dozen people in 10minutes’ time. And that’s really nice.”

One thing that hasn’t changed isher effect on his acting. “We’ve beentogether for 20 years,” he said. “Iknow most of the time what she’sthinking, and she knows most of thetime what I’m thinking. That’s agreat shortcut at times, but othertimes it’s difficult.”

That’s because she knows whenhe’s cutting corners, he said. “There’salways a deadline, and you have toproduce something in a certainamount of time, which sometimes

forces you to not do the most honestwork you can.”

He can’t get away with that withhis wife, he said, because they knoweach other so well. “People are able todelude themselves at times,” he said.“I can’t delude her, or trick her, orfool her.”

Todaro confessed that his drive foran honest performance sometimesleaves him acting like a bit of a jerk.“I’m very impatient,” he saysruefully. “With co-workers, I expecteveryone to do things the way I dothem. But I’ve learned by now thatdoesn’t always play that way.”

When he slips into his teacher’srole, to shape some of the nextgeneration of actors at NiagaraUniversity, he throttles back.

“Whenever I teach, I don’t believein any kind of preaching,” he said. “Itry to be very Socratic about it. I askquestions. That’s all I ever do.”

It’s an exhausting process, he said,but he believes in it for theauthenticity of the results.

“Sometimes it doesn’t work. Butwhen it works it works for real, andit’s lasting because the student hasmade the realization themselves.”

For all his intensity, Todaro knowshe needs to lighten up from time totime. One of those times is Sundaynights, when he slips down the streetto McGarrets, a neighborhood bar.He picks up an electric bass and joinsfive other talented musicians inbelting out classic country andwestern, zydeco and more “hootin’and hollerin’” music.

On this stage, Todaro can finallyrelax.

“Acting is fun, but it puts thebread on the table,” he said. “It’s myjob to enjoy it while I’m doing it,but it’s still a job. I just neededsomething I liked that didn’t haveany consequences whatsoever.”

“People go to the theater because it’s magical,” saysPaul Todaro, ’87, shown standing by the stage beforeone of this summer’s productions of “Twelfth Night”at Shakespeare in Delaware Park.


High Heels and Coronets: The True Storyof a Designing WomanBy Mary E. Furlong

High heel shoes! They were thefirst thing I noticed in costumedesigner Maureen Stevens’ office. Shedevotes a whole shelf to them—fancy, dancy miniatures in sexy neoncolors, all trimmed out with beadsand fur and spangles. Dream shoes,no doubt, for, surely, 6-foot-2Maureen never actually stepped outin high heels.

Oh, but she did! Still does, at leastin spirit! “I’m a shoe person,” shesays with an air of fatalism.

She’s a hat person, too. And agown person. And a bustle person.And a Romeo shirt person. And, inparticular, on the day we talked, acoronet person.

Coronets! That’s what they callthose charming goose-girl headpieces that the Daughters of Charityused to wear. Those starched linenflying-nun chapeaus with theirgraceful, awe-inspiring wings.

Coronets are featured in “Vincentin Heaven,” the Niagara UniversityTheatre’s season opener. Written bydirector emeritus Brother AugustineTowey, C.M., the productionchronicles the life of St. Vincent dePaul, founder of both the Vincentianorder and the Daughters of Charity.The Daughters’ traditional figure-

enveloping blue habits and gleamingwhite coronets are a costume designer’sdream of character definition anddramatic effect.

“They had an aura about them,”says Maureen in describing the firstwomen religious to work in the worldrather than retiring to a cloister. Anaura, she adds, that had to do with theway they both “blended in” with and“stood apart” from the seventeenthcentury society in which they lived.

Maureen has had time to give thesubject a lot of thought. She designedcostumes for Vincent’s premiereproduction back in 1988. At the time,she was a recent graduate of SUNYCollege at Buffalo, intent on making atransition from her initial career choice(fashion design) to the world of theater.After “Vincent,” she costumed the NUproduction of “Oklahoma” at Artpark.Then, it was on to graduate school atthe University of Illinois at Urbana-Champaign to beef up her theatercredentials.

Master’s degree at last in hand,Maureen freelanced for about sevenyears, gaining experience in suchprestigious venues as The ColoradoShakespeare Festival, the SanFrancisco Opera, the Hartford Stage,Studio Arena, and the Illinois Opera,Dance, and Repertory Theatres. Shecalls this her “wandering child” phase,a time when she kept her options openand her car trunk packed.

By 1996, Maureen thought she’dsettled into a permanent niche atWalt Disney World in Florida. Then,a phone call from Brother Augustinecalled her home to Western NewYork and full-time teaching anddesigning at Niagara University.

Maureen estimates that she’sworked on more than a hundredshows over the years. Certain ones

stand out because of the way all theirartistic elements came together inunified visions. “Steel Pier” is at thetop of her list of favorites. She fell inlove with the music, the story, andthe courage of the characters, whosecostumes she designed to reflect thepoverty and desperation of theDepression era. To her immensesatisfaction, both composer JohnKander and lyricist Fred Ebbexpressed their preference for herdesigns over their gaudier Broadwaycounterparts.

“That was very cool,” saysMaureen.

Other standouts include: “JuliusCaesar,” which she costumed inmilitaristic Tai Kwon Do style;“Hamlet,” whose dramatic colorscheme was inspired by Dutch artistRogier Van Der Weyden’s painting ofthe Crucifixion; and “Spoon RiverAnthology,” done in sepia tones tomimic old photographs.

And, of course, “Vincent inHeaven,” a revival of her inaugural NUproduction. The first time around,Maureen, a carefree 20-something, hadthe technical assistance of Sister MaryFran Martin, who turned up onperformance evenings to pin each stagenun’s coronet wings into place. Sister,however, is presently Visitatrix of theNortheast Province of the Daughtersof Charity (which, like a complimentfrom Kander and Ebb, is very cool).And Maureen, now the busy wife ofKevin and mother of K.J. and Clara,is no longer quite so carefree.

Don’t worry. She’ll manage—winging it so to speak—with theaplomb of a Fred Astaire dancingpartner. Okay, okay! Not literallybackwards and in high heels. Butwith that kind of flair. That’s a shoeperson for you.


Alumni News . . .

Heather Adair, ’04,recently finished “Annie

Get Your Gun” and “A Chorus Line”at a dinner theater in Ohio.

Several NU Theatre alumni,students and a professor participatedin Buffalo’s annual InfringementFestival this summer. Over 200performances of diverse productionsattracted good crowds. Alumni whoparticipated included: LaurenArena, ’04; David Autovino, ’03;Kelly Beuth, ’96; Virginia Brannon,’04; Joe Christopher, ’06; LindsieDetota, ’06; Erin Garvey, ’06;Jenny Gembka, ’04; Kahlil GibranJackson, ’04; Andrew Liegl, ’06; andAndrew Michalski, ’98. Currentstudents who participated along withadjunct professor Larry Smithincluded: Candice Kogut, ’08; KellyKonecko, ’09; Lisa LeCuyer, ’08;Paige Mingus, ’09; Ryan O’Byrne,’09; Emily Pici, ’08; Kristen Smiley,’07; and JennaBeth Stockman, ’09.

Virginia Brannon, ’04, was one ofthe organizers of the InfringementFestival and acted as festival supervisor/house manager for the New PhoenixTheatre on the Park. She acted in oneof the productions at the festival anddirected “The Respectful Prostitute”by Jean-Paul Sartre. In addition, shedid two monologues in “The MarbleOrchard Tours” in Lewiston thissummer and was cast in “Nunsense”for Theatre in the Mist in Lewiston.Virginia directed “Wait Until Dark”for Theatre in the Mist in October.

Tiffany Bruce, ’01, is currentlyteaching theater and film and directingproductions at Downers Grove SouthHigh School near Chicago.

Victoria Buda, ’98, wrapped up“The Hobbit” this spring andheaded to New York City to direct ata children’s theater camp inLarchmont for the summer.

Julie Burdick, ’03, is inWashington, D.C. this fall, workingon “Cabaret” at the Arena Stage. Sheplays a “KitKat Girl” and is covering“Sally Bowles.” Julie has also hadsome wonderful callbacks in NewYork for such productions as“Tarzan,” among others, and reportsthat she got to meet Bob Crowleyand see his Tony Award at a recentcreative meeting.

Tonia Campenella, ’02, receivedher MFA from Richmond and isteaching acting to freshmen andsophomores at the University ofOklahoma, where she may also dosome directing.

Sheila Connors, ’97, is a memberof The OutoFar Trio Jug Band andappeared on the Western New YorkAdelphia Cable television show,“Crossroads,” in June. She alsoplayed rubboard and sang back-upvocals on Alison Pipitone’s new CD,“Tigerbabies,” and participated inPipitone’s CD release party events(www.alisonpipitone.com).

Dan DelGaudio, ’04, reports thathe is now a member of the ScreenActors Guild, having been featuredon “CSI” and “King of Queens.”After living in Los Angeles for thepast year and a half, he has relocatedto Boston. In Los Angeles, heperformed at a small repertorytheater in Hollywood doing a seriesof one-act productions by David Ives.He recently signed an exclusive dealwith a SAG-franchised agency inBoston and is also working as amarketing manager at an Internetmarketing firm.

Jim DeVivo, ’99, is an associatedirector of education at Playwright’sTheatre of New Jersey. In this post,he is program coordinator for localplaywriting initiatives and NewJersey’s statewide Young Playwright’s

Contest. This year heproduced the 20th annualMadison Young Playwright’sFestival and revived the New JerseyYoung Playwright’s Festival inpartnership with Premiere Stages atKean University in Union, N.J.This year, through the “New Playsfor Young Audiences Series” atNYU, he performed a stagedreading of “Getting Near to Baby”by Y. York from the novel byAudrey Couloumbus. He alsowrote a 10-minute play that waspresented in a public reading inthe city.

Paschal Frisina III, ’00,exchanged marriage vows withKristen Marie Nixon, ’02, on Aug.12 at St. John de LaSalle R.C.Church in Niagara Falls, N.Y.Brother Augustine Towey, C.M.,honored the couple by giving thehomily. The couple resides inGrand Island, N.Y.

A group of NU theater alumni who live andwork in the Los Angeles area gathered togetherthis summer to catch up with one another. Fromleft to right, Michael Thompson, ’06; SarahMaine, ’05; Jenny Schoch, ’04; Diana Sproveri,’95; Kevin Kreczko, ’05; Brendan Powers, ’96;Bac Delorme, ’94; Marla Militello, ’95; A. J.Sullivan, ’92; and Brendan Connor, ’94.

See ALUMNI, continued on page 14


Denise Payne Lennon, ’99,recently finished a seven-month tourof “Dr. Doolittle, the Musical.”

Michael Mariano, ’85, reportsthat he feels lucky to have landed“the best job in television this year:”producer on the hit comedy, “MyName is Earl.” His friend GregGarcia created this show, along with“Yes, Dear,” which Mike previouslyworked on.

BrendanPowers, ’96,artistic director ofNiagaraUniversityTheatre,participated in abenefitperformance withOscar-nominatedactor AlecBaldwin on July12. The eventincluded areading of theTony-awardwinning play,“ART,” byYasmina Reza,and benefited a new Buffalo theatercompany, Road Less TraveledProductions.

Colleen Quinlan, ’91, has landeda role in “Pig Farm,” a new play byGreg Kotis, who wrote “Urinetown.”The production will be on stage atThe Old Globe in San Diego fromAug. 29 through Oct. 29.

Michele Ragusa, ’87, is currentlystarring in “Urinetown” in Ohiothrough November. From Januarythrough March, she’ll be at PrimaryStages in its production of “Adrift inMacao.”

Patrick Riviere, ’88, wasappointed assistant director for theHudson Riverfront Performing ArtsCenter in January. He is coordinatingthe educational outreach programs,assisting with two concert series, and

producing the reading of the newmusical, “Triangle,” in associationwith All Seasons Theatre Co. Patrickalso recently published “Flowers inAutumn: endings and beginnings,” apoetry book featuring his poems andpaintings by his late mother, GenRiviere. The book is published byCliffside Small Press and is availableonline at www.lulu.com. Patricknoted, “I’m excited to have people

see this work. It is as much an artbook as a collection of poems.”

Dawn Smith-DeLuca, ’96, wasonstage in “Footloose” this summerat the Lancaster Opera House inLancaster, N.Y.

Paul Todaro, ’87, along withseveral other NU alumni andstudents, again starred in Buffalo’sShakespeare in Delaware Park thissummer. Alumni cast members of“Love’s Labour’s Lost” includedTodaro; Joseph Wiens, ’04; DavidAutovino, ’03; Susan Drozd, ’02;and Lindsie Detota, ’06. Alumniand current NU Theatre studentswho were seen in “Twelfth Night”included: Todaro; David Autovino,’03; Andy Liegl,’06; JonathanKlatt, ’08; Lona Geiser, ’93;

Brendan Powers, right, artistic director of Niagara University Theatre,performed with Oscar-nominated actor Alec Baldwin at a benefit in July.The fundraiser for Road Less Traveled Productions took place at Asbury Hallat the Church in Buffalo. Powers and Baldwin read the Tony award-winning play “ART” by Yasmina Reza. Photo courtesy of Bob Mussel.

ALUMNI, continued from page 13

William Vaughan, ’09; and LisaLeCuyer, ’08. Niagara Universityartist-in-residence, Steve Vaughan,directed “Twelfth Night.”

Samuel Torcasio, ’06, is featuredon Saturday mornings on WDCX99.5 FM Buffalo in a weekly radioshow called “Car Connection.”

Damian Vanore, ’02, a member of“Money in the Pants,” a sketchcomedy troupe comprised of SecondCity Conservatory alumni, was onstage in September in a new showcalled “Comedy Through Time.” Theproduction was on stage at Donny’sSkybox in Chicago.

Variety is the spice.After playing thesultry “Velma” inNU Theatre’sproduction ofKander and Ebb’shit musical“Chicago” lastspring, LiaSumerano,’08,played it sweet as“Belle” in “Beautyand the Beast” inAlbany, N.Y.’sPark Playhouse thissummer.

Share Your News andPhotos!

Please e-mail alumni news, storyideas and/or high-quality digitalphotos (with descripton of event

and who is in the photo) toBrendan Powers at

[email protected] or AnnHeuer, at [email protected] mail good quality hardcopy photos to Ann Heuer,

Niagara University Theatre, P.O.Box 1913, Niagara University,

N.Y. 14109.


Summer In the SpotlightSeveral talented administrators, alumni and students from NiagaraUniversity Theatre were involved in the Irish Classical Theatre’s poignantseason opener, Terrence McNally’s musical, “A Man of No Importance.”Front row from left, Niagara University Theatre director emeritus,Brother Augustine Towey, C.M., director of the production; MicheleRoberts,’99, (Adele); and senior Meaghan Reilly (Kitty). Back row fromleft: junior Matthew Chavez, assistant to the director; senior PatrickMcGee (ensemble); and NU Theatre dance professor Stacy ZawadzkiJanusz, choreographer for the production. Missing from the photo areDavid Autovino, ’03, (Breton Beret) and NU Theatre scenic andlighting director Eric Appleton, who provided set design for the musical.For more information, visit www.irishclassicaltheatre.com.

(Left) NU Theatre’s Lisa LeCuyer, ’08, right, and David Autovino, ’03,center, were among a group of several NU Theatre alumni, students andfaculty who performed in the comedies “Twelfth Night”(pictured) and “Love’sLabours Lost” at Shakespeare in Delaware Park this summer. Here, LeCuyerand Autovino listen to the lovelorn Christopher Young (“The Duke of Illyria”).

NU student Cassie Gorniewicz, ’08, (pictured above) and alumni DavidAutovino, ’03, (pictured right, top) and Sarielys Matos, ’04, (picturedright, bottom) shared their acting talents in three new television commercialspromoting Niagara University. The commercials were shot on campus thissummer and are being broadcast in Western and Central New York this fall.To view these commercials, visit NU’s homepage at www.niagara.eduand click on “learn more” under the “Campus Spotlight” heading.

Niagara University Theater DepartmentP.O. Box 1913Niagara University, NY 14109

Nonprofit Org.U.S. POSTAGE PAIDNiagara University,

NY 14109PERMIT NO. 1

Three Works by Brother Augustine Available“Poems from San Francisco,” a

chapbook by Brother Augustine Towey,C.M., director emeritus of NiagaraUniversity Theatre, contains 13 poems,including “All This, and BooksBesides,” the poem commissioned forNiagara University’s 150th anniversary.

All copies are signed by the authorand are available for sale. To order,please send a check made payable toNiagara University Theatre for $25 foreach copy.

In addition, Brother Augustine’schapbook, “The Anna Poems,” writtenin memory of his mother, is available ina limited edition at $20.

Also, Brother Augustine’s play,“Vincent in Heaven,” which spotlightsthe engaging humanity of St. Vincentde Paul, is available for $10 U.S./$12CN per copy.

For any or all of these works, pleasecomplete and mail the form at right.

Order Form

Shipping and handling $2.50 ($3.50 CN) per copy.Check or credit card accepted.

_____ copies of “Poems from San Francisco” @ $25 ($27 CN) $_____ copies of Vincent in Heaven” @ $10 ($12 CN) $_____ copies of “The Anna Poems” @ $20 $ Shipping/handling ($2.50 U.S./$3.50 CN) per copy $ Total: $

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