Proposed by Matthew Dec Full Dramatization by Joseph Robinette

I, Matthew Dec, am proposing The Lion, the Witch, and the Wardrobe as a two-act production to be

rehearsed and performed in Pearson Hall Auditorium during the spring semester of 2013 by

E-52 Student Theatre, with the intent to direct.

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I. Preface Narnia has been the ultimate success of world-renown author C.S. Lewis in his

collection of 58 total novels. Time Magazine has ranked this classic story #58 on the list of “Best 100 Novels of All Time” as well as recognizing it as the most popular novel in the series. This story has been most notably professionally performed by the Royal Shakespeare Company, BBC film, Vanessa Ford Productions, Malcolm C. Cooke Productions, ABC film, Disney and Walden Media film, and most recently the ThreeSixty Theatre Company in London last summer.

II. Production Staff Director* ............................................. Matthew Dec Stage Manager* .................................. Laura Sperling Assistant Stage Manager* .................. Alysia VanLooy Production Manager .......................... Mark DiStefano Technical Master/Set Designer* ....... William Bryant Technical Assistant............................. Sparky Haden Head Artist .......................................... Lauren Bryant Head Artist Assistants......................... Kate Huffman & Emma Sweetapple Show Photographers1......................... Chrissy Palmer with UD Photography Club Fight Coordinator2 ............................. Ryan Palmer with UD Fencing Club Properties ............................................ Angel VanBennekom Costumes ............................................. Kiersten Gutherman & Carolyn Wright Hair and Make-Up............................. Caitlyn Goodhue, Laura Mullin, & Alysia VanLooy Lighting*.............................................. Bradley Wolack Sound Designer .................................. Matthew Dec Sound Board Operator* ..................... Sparky Haden Publicity .............................................. Kaitlyn Breloff House Business*.................................. Sarah Swanson

* Cannot audition for a title role in this production while holding this position on the production staff. 1 I have corresponded with Chrissy (UD Photography Club President) via email and she has expressed major interest in her and club members leading the photography aspect of the production. A final confirmation will be determined if this proposal passes.

2 I have sat down with Ryan (UD Fencing Club Vice President) and he has agreed to Section XI information about fight choreography. Ryan has experience with all fight techniques listed. Matthew will continue to search for more staff members, particularly for the Chairs, Publicity Team, and House. If interested, contact Matthew.

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III. Play Summary

Setting: The story is set in 1940 during WWII when four siblings – Peter, Susan, Edmund, and Lucy Pevensie – are evacuated from London to escape the Blitz. The children are sent by their mother to live with a professor in an English country house for their safety while their father is at war.

Genre: Fantasy

Plot: While exploring their new home, Lucy finds a wardrobe and discovers a

doorway to a magical world named Narnia, a wintery land filled with all sorts of creatures that haven’t celebrated Christmas in 100 years. There, she meets a faun named Mr. Tumnus. Later on, a curious Edmund goes in the wardrobe, enters Narnia, and comes across the White Witch, the evil Queen of Narnia, who convinces Edmund to bring himself and his three siblings to her castle with the promise that he shall rule over them; but when Mr. Tumnus goes missing, Lucy brings all of her siblings together in Narnia to help find her new friend. While in Narnia, they meet Mr. and Mrs. Beaver, who recount a prophecy that says the Witch’s evil power will fall when two Sons of Adam and two Daughters of Eve fill the four thrones at Cair Paravel under the true king of Narnia – a great lion named Aslan who has been absent for many years but is “on the move again.” During this conversation, Edmund ignorantly sneaks away to the White Witch where he is tricked and kidnapped by her, the Dwarf, Ulf, and her army, as she knows he is a threat to fulfilling the prophecy. The siblings realize this and are forced to save Edmund while fighting the White Witch.

The Beavers, Father Christmas, and the return of Aslan and his followers help the children along the way to help save their brother while restoring peaceful springtime in Narnia once again. Edmund is eventually saved in secret exchange for Aslan’s life as tribute, but then Peter ultimately decides to stay in Narnia to battle the White Witch. That night, the White Witch ritually kills Aslan and prepares for battle. The next morning, the deep magic of Narnia restores Aslan back to life alongside Susan and Lucy. Meanwhile, Peter and Edmund lead Aslan’s army in a battle against the White Witch’s army, but are losing. Aslan arrives with reinforcements just in time to kill the White Witch, allowing the Narnians to restore peace. The Pevensie children are named kings and queens of Narnia, and the play ends with them rediscovering the lamppost that marked their original doorway into Narnia.

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IV. The Cast 21 total roles = 14 title roles (6M, 5F, 3N) + 7 ensemble roles (N) Title Roles:

1. White Witch (F), an evil queen, combat extraordinaire 2. Aslan (M), a great lion 3. Lucy Pevensie (F), younger sister, human heiress of Narnia 4. Edmund Pevensie (M), younger brother, human heir of Narnia 5. Peter Pevensie (M), older brother, human heir of Narnia 6. Susan Pevensie (F), older sister, human heiress of Narnia 7. Mr. Beaver (M), animal of Narnia, Aslan’s Army 8. Mrs. Beaver (F), animal of Narnia, Aslan’s Army 9. Dwarf (N), servant to the White Witch

Selected Scene: Elf of Father Christmas 10. Centaur (N), animal of Narnia, Aslan’s Army 11. Unicorn (F), animal of Narnia, Aslan’s Army 12. Fenris Ulf (N), a wolf, head of the White Witch’s secret police (Act I)

Narnian, Witch’s Army (Act II) 13. Mr. Tumnus (M), a faun, accused traitor of the White Witch 14. Father Christmas (M), a bringer of gifts (Act I)

Narnian, Witch’s Army (Act II) Ensemble:

3 Aslan’s Followers (N), animals of Narnia

4 Witch’s Army (N), animals of Narnia Opening/Closing Scenes: White Stag

Comments

Ensemble will be in army scenes throughout (some roles have short lines), learn fight choreography for battle scenes, and/or act as stage crew. They only need to attend about half of rehearsals.

The roles of Lucy, Susan, and Mr. Tumnus do not require the actors to learn fight techniques, as they are not scripted to fight during battle scenes.

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V. List of Short Scenes Act I : Winter 1. Prologue 4C 2. Welcome to Narnia Beavers, Unicorn, Centaur, Tumnus, Ulf 3. Lucy Meets Mr. Tumnus Lucy, Tumnus, Ulf 4. Turkish Delight Witch, Edmund, Dwarf, Lucy 5. Into the Forest 4C, Beavers, Unicorn, Centaur 6. The Beaver Dam 4C, Beavers, Father Christmas, Elf 7. The Witch’s Castle Witch, Edmund, Dwarf, Ulf 8. The Return of Aslan 3C, Beavers, Aslan, Unicorn, Centaur, E

BATTLE SCENE 1 (short) Peter vs. Ulf 9. Saving Edmund Witch, Edmund, Dwarf, Ulf, E

BATTLE SCENE 2 (short) Unicorn, Centaur, Beavers, E vs. Dwarf, E Intermission Act II : Spring 10. Edmund Returns 4C, Aslan, Beavers, Unicorn, Centaur, E 11. The Meeting FULL CAST except Tumnus and 2 Narnians 12. The Stone Table Witch, Aslan, Susan, Lucy, Dwarf, E 13. Peter’s Decision Peter, Edmund, Beavers, Unicorn, Centaur, E 14. The Final Battle FULL CAST except Tumnus

BATTLE SCENE 3 (long) Aslan’s Army vs. Witch’s Army Main individual battles: 1. Witch vs. Peter (15s)

2. Witch vs. Edmund (15s) 3. Witch vs. Peter again (10s) 4. Witch vs. Aslan (10s)

15. The Royal Coronation 4C, Aslan, Beavers, Unicorn, Centaur, Tumnus, E 16. Hunting the White Stag Aslan, 4C, Beavers, Tumnus

C = Children E = Ensemble

Comments

The script itself does not divide any scenes, so Matthew has broken them down by scene change to give a general idea of the adaptation and character breakdown.

The ensemble is scattered mainly in scenes 8-15 in addition transitions.

The only scene that is not in Narnia is scene 1 in front of the curtain.

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VI. Technical Expectations Set Construction

Huge boulder and rocks upstage (series of several elevated platforms decorated as backwoods and forest, always there)

Stone table (always in front of boulder, painted wood and Styrofoam, carved)

4 total painted flats of scenery covering wing areas or upstage

Wardrobe (carved/painted front doors, back open, on wheels)

Lamppost (idea: inexpensive floor lamp with fixed light top, added roots)

Mr. Tumnus’ home (idea: short painted wood pieces, reddish stone, form a circle)

Couple small elevated platforms for throne and “statues” in Witch’s palace

Small pavilion (idea: 2 wood stands, yellow striped sheet)

Beavers’ home (idea: 2-3 simply-constructed teepees for Beaver props)

White bench

Debatable: tens of fake rocks that “fall out of the sky” would need a holding place Set Decoration

Fake bushes, mini-trees, flowers, and other greenery for winter and spring ($350)

Ice pillars (idea: 4 rolled-down thin wrinkled cloth sheets or 4 wood pillars)

6 Aslan posts (idea: cut board painted gold with red lion on a wood stand)

4 Witch posts (idea: cut board painted silver with black snowflake on a wood stand)

Couple non-flashing floor strobe lights to shine across the stage floor ($40)

Winter illusion: icicles, fake snow, snow spray, or white poly sheeting for set pieces

Plenty of actual rocks and stones for outdoor illusion

Possibly: Painted backdrop of mountains, sky, ocean, and Cair Paravel Castle (cool colors shown on it for Act I, warm colors shown on it for Act II)

Possibly: 1-2 big fake pine trees for the corners of the stage (fake Christmas trees)

Sound

The Chronicles of Narnia: the Lion, the Witch, and the Wardrobe movie soundtrack composed by Harry Gregson-Williams

Sleigh bells, ice cracking, lion roar, blow horn, thunder/lightening

Other animal and battle effects Comments

The Production Staff will meet before Winter Session, mainly with the intention to discuss a detailed set design so preparation may begin before February. The above list is only a basic expectation. Head Artist will help lead decoration.

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VII. Properties Mr. Tumnus: Pan’s flute ($10), coffee table, two small chairs, tea pot, drinkable tea ($5), two cups, tray, framed picture, books, couple wrapped parcels Lucy: white handkerchief White Witch: golden long wand with replaceable, breakable top ($35), round box with green ribbon, edible Turkish Delight ($10), jeweled cup, drinkable dark liquid ($5), throne, white peace flag, hand rope, sacrificial dagger ($10) Ulf: big written note Beavers (necessary): dinner table, six chairs/stools, rough table cloth, six plates, six cups, six napkins, silverware, edible salmon-looking food ($15), edible bread ($5), bread basket, dinner platter, kettle, drinkable tea, pipe Beavers (optional house decoration): large brown rug, strings of onions and hams, gumboots, oilskins, tools, fishing poles, fishing nets, barrel, candles, etc. ($40) Father Christmas: big gift bag, shield painted silver with a bright-red Narnia lion symbol, small glass bottle with red-orange liquid, small dagger, bow and arrows ($30), little ivory-looking blow horn ($15) Aslan: body rope, muzzle ($5), 4 fake shears or cutting knives Battle fake weaponry (15 people): fake swords, shields, slingshots, spears, Ninja Sais, bullwhip, executioner axe, medieval spiked clubs, daggers, hand blades ($150) Other: hangers and other clothes for wardrobe, wooden box with 4 crowns ($10), fake blood ($5), 4 lanterns with fake candles, debatable: two remote control realistic birds – only if they look realistic – to drop rocks (paper balls) during battle ($55) Comments

Battle weaponry rehearsal props must be ready for use during the first rehearsal in February so the Fight Coordinator and cast can have efficient fight rehearsals.

Any painting or direct creative artistic design is under Head Artist.

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VIII. Character Designs (Costumes + Hair and Make-Up)

21 ACTORS 28 COSTUMES SCENE COSTUMES SPECIFIC HAIR AND

MAKE-UP NOTES

Peter (2)

• Shirt and pants • Formal battle clothing • Fur coat • King’s Robe

Susan • Shirt and skirt • Fur coat • Queen’s robe

Edmund (2)

• Shirt, vest, and pants • Formal battle clothing • Fur coat • King’s Robe

Lucy • Dress and stocking • Fur coat • Queen’s Robe

Mr. Beaver

• Beaver commedia dell’arte mask • Brown plump fisherman’s clothing • Brown boots • Beaver tail • Hat

• Beaver whiskers • Brown nose • Added sideburns • Beaver ears

Mrs. Beaver

• Beaver commedia dell’arte mask • Brown housemaid clothing • Brown country shoes • Beaver tail • White apron

• Beaver whiskers • Brown nose • Added sideburns • Beaver ears

Aslan • Fancy lion head piece • Old-fashion golden robes OR golden

gladiator attire

• Golden face make-up resembling a warrior

• Golden hair, if not on head piece

White Witch (2) • White ball gown with white mink

coat or scarf • Battle dress (preferably teal) • Golden crown

• Genie blue/white make-up with glitter

Mr. Tumnus • Black fur bottom w/ hooves • Red scarf and/or grey vest • Preferably shirtless

• Added body hair • Dark-white horns • Extended faun ears

Fenris Ulf / Narnian (2)

• Wolf commedia dell’arte mask • Military attire (shirts, pants, black

boots, cap) and battle armor • Wolf hands and tail • Narnian: Battle clothing

• Wolf facial features and make-up

• Face clay • Added sideburns • Wolf ears

Dwarf / Elf (2)

• Dwarf cap with horns • Worn out shirt and pants • Red hat • Hand rings • Elf costume

• Facial warts and age • Beard • Elf: ears

Father Christmas / Narnian (2)

• Shirt, pants and suspenders • Boots • Winter coat (not like contemporary

Santa Claus) Troll:

• Dirty, worn out clothing

• Added white beard • White hair or balding • Troll: Heavy brown

make-up • Troll: Extended ears

Unicorn • Unicorn commedia dell’arte mask • White long dress • Silver low heels

• White princess make-up

• Unicorn horn

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Centaur

• Commedia dell’arte mask (maybe) • Battle vest and shoe hooves • Horse tail • Body representation TBD, definitely

not an extended body so most likely a warrior with horse features

• Horse ears

Aslan E1 Wood Nymph (elf):

• Green shirt • Brown pants and belt

• Elf pointed ears

Aslan E2 Cheetah:

• Printed cheetah material/dress • Cheetah tail

• Cheetah simplified make-up design

Aslan E3 Dryad (fairy):

• Pink flower dress • Pink shoes

• Flower make-up eye design

• Flowers in hair

Witch E1 (2)

Minotaur: • Dirty, worn out battle clothing • Head mask

White Stag: • Commedia dell’arte mask (maybe) • White sweater and white pants

• Head mask • Stag: head wrack

Witch E2 Goblin: • Dirty, worn out clothing

• Bald • Face clay

Witch E3 Bat:

• Black clothing • Arm wing extensions

• Bat ears • Bat face make-up

Witch E4 Ogre/Giant/How creative can we be? • Dirty, worn out clothing

Comments

The above chart is just ideas of what are ideal so the membership has an idea of where costumes are headed. Matthew has created this list and reviewed it with JAX Chair for approval. There will be no body suits and all animals will stand when moving. Instead, there will be more creative art like commedia dell’arte style.

Matthew will work extra closely with the costumers to adhere to the workload: • Matthew will attempt to seek costume assistants and clothing resources through the UD Fashion

Department and the PTTP within the coming weeks.

• The Costumers and the Director will meet before auditions to detail and revise the costume list.

• Measurements will begin to be taken on December 8, 2012, and the final dress rehearsal deadline for all costumes is March 4, 2013, so that is about three months for costuming.

• Aslan and Mr. Tumnus will be the two priorities for handcrafted and time-consuming pieces.

• Peter and Edmund will be the two priorities for battle clothing.

• We will try to have some type of battle gear for all battle scene participants, but the time and money situation may limit our vision.

• Non-material-cloth battle armor (helmets, shoulders, chest, Styrofoam, cardboard, and other protection) will be a joint effort between the Costumers, Head Artist, and Properties Mistress.

• Matthew will be flexible: using about 1/4 from JAX, buying some pieces (especially the extendable), limiting handcrafted pieces, adapting Halloween costumes, making some commedia dell’arte style masks, and working with university resources.

• Matthew increased the costuming budget to $1,000 in accommodation.

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IX. Budget

Venue $1,100 Pearson Hall charge

Royalties $450 $75/performance x6

Scripts $188 $8.95/book x21

Tech $950 Includes scene construction and decoration

Properties $350 Mainly for battle weaponry

Costumes & Make-Up $1,000 Intended to be detailed but adapted

Publicity $200 Mainly posters and flyers

House $150 House designs, programs, fundraising

Public Safety $120 $20/night x6

Miscellaneous $200 May include CD copyright fees

TOTAL $4,708

TOTAL with allocations $2,354 Seeking allocations/funds for half of budget

(at least Venue, Royalties, Scripts, Public Safety)

X. Performance Rights Dramatic Publishing, Inc. Phone: 1-800-448-7469 311 Washington St. Fax: 1-800-334-5302 Woodstock, IL 60098-3308 www.dramaticpublishing.com

XI. Director’s Vision Audition Process

There plans to be two nights of auditions with a third night for callbacks. All members of the full cast will be casted directly after callbacks as one of the 14 title characters or a Narnian. Individuals who wish to be casted only in the ensemble or wish only to perform in the battle scenes still must complete an audition sheet. The live auditions will not test a person’s fight technique, but the audition sheet will question the actor’s comfort with stage combat. University of Delaware graduate students may audition. Production Staff members who are eligible to audition for this show are specified in the Production Staff section. Only the roles of White Witch, Edmund, Peter, and Fenris Ulf will require the actors to be comfortable with direct sword stage combat. The director (Matthew) and the stage manager (Laura) will make up the audition panel, at a minimum.

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Artistic Showcase, the Head Artist, and Show Photographers Matthew’s primary goal as director is to showcase E-52’s creation of Narnia. The idea of Narnia itself is what attracts so many people to the story, so thinking creatively, imaginatively, and vibrantly to present the props, costumes, and set on stage properly is key to believing the performance. Matthew loves this show as a huge theatrical art project because there is always room for more creativity and anyone who wants to showcase a special skill is more than welcome to get involved. Therefore, Matthew has added a Head Artist and Show Photographers to the production staff to lead this creativity and assist the rest of the production staff with fine arts such as painting, designing artistic properties, house decoration, photo publicity, cast headshots, and rehearsal photography.

Fight Choreography and the Fight Coordinator The three battle scenes will have fight choreography, an aspect that is unique to an older generation performing this show. Therefore, Matthew has added a fight coordinator, Ryan Palmer, to the production staff. Ryan has agreed to help lead all fight rehearsals. Ryan will lead a workshop about fight technique the first week in the rehearsal schedule. Matthew and Ryan have set a preliminary goal of two fight rehearsals per week, and Ryan is willing to spend extra time with cast members who perform in individual battle sequences to help learn techniques. A finer schedule of full cast fight rehearsals will be detailed in November, but every fight rehearsal will not be the full cast every time. During fight rehearsals, Ryan and Matthew will share equal power in the facilitation of the rehearsals, but Matthew ultimately will make all decisions. Matthew will be responsible for blocking and designing the battle scene layouts as well as choosing all the fight choreography for each person in each battle scene. Ryan (and his applicable aids from UD Fencing) will be responsible for actually teaching the cast members the fight choreography. Fight choreography will be with and without weaponry. No real weapons will be used. Fight choreography may include: karate, self-defense, fencing, medieval technique, sword combat, fist fighting, grappling, improvised weapon combat, knife technique, and others. Each person’s fight choreography will depend on the comfortableness of the actor with stage combat and what his/her character would do in the scene.

Sound and the Film Soundtrack Being one of his favorite parts about this choice production, Matthew will use the film soundtrack throughout the play (mainly during transitions, the battle scenes, and Mr. Tumnus’ lullaby). He thinks the universal music score will draw out the audience’s feeling of Narnia in order for them to connect with the performance. Matthew also wants to fully use sound effects throughout the play.

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Soundtrack Description: “Composer Harry Gregson-Williams takes on the magical world of C.S. Lewis’ Narnia and creates predictable wonder and reliable bravado. Williams’ dramatic choral arrangements do their best to emphasize childhood awe, and the Celtic-tinged character motifs evolve naturally, but the overall effect is that of any fantasy film. It carries a strong undercurrent of seriousness beneath its storybook exterior.” It has received extremely positive reviews, with two Golden Globe Award nominations.

Publicity Matthew is designing this play to have major artistic expression, battle

scenes with a different type of acting, and fulfilling sound. He believes these are the key, unique points to the success of the play and why audiences would take it genuinely. The themes of youth empowerment, destiny, and childhood awe expect to attract audiences. Matthew will make sure this performance is a solid, professional presentation of Narnia suitable for young adults with our resources. This play will promote talents that draw from an array of the UD community (theatre members, fight clubs, photo club, art department, fashion department, etc.), and he thinks many college students would be excited to re-live this classic part of their childhood. The script is very faithful to the book. Also, the play may be promoted at community children organizations.

In addition, this is the perfect opportunity to educate the public all about opportunities in theatre, the creation of theatre, and what E-52 does regularly with commemorating 90 years, especially since this play calls for a diverse range of talent. With a majority vote approval by the production staff, the production may host a pre-party for family and friends an hour before call on one or two of the performance dates. The pre-party may have free food (Turkish Delight!), raffles to win fun Narnian things, a presentation from selected production and/or cast members on the creation of the production, guest speakers, and/or Narnian games.

Members would be encouraged to join the publicity team to brainstorm other cool ideas. Matthew will seek much co-sponsorship.

Why Pearson? 1) With an expected full cast of 21 people, a final battle scene with that many people simply needs a huge space. Otherwise, space will get cluttered, actors will be more focused on not hitting other actors by mistake rather than on their fight technique, and there is only so much elevation that can be created in other venues, thus creating a poor viewing experience. With Matthew’s plan of elevations in Pearson, the battle scenes will look impressive.

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2) The world of Narnia itself is huge and the audience is supposed to believe this is a magical place of great lands and creatures. This would be hard to capture tastefully in a small space like Bacchus.

Conclusion The bottom line to the success of this play is proper task management and communication; anything else is a quantitative adjustment. Matthew designed the production staff to accommodate a five-week rehearsal schedule and he seeks more members. He wants creativity to be free-flow and for there to be as little stress as possible. Please note that ideas in this proposal are only preliminary since Matthew has yet to discuss details with the production staff if passed. Every character in this play is a child, an animal, or a mythological creature, which are entities that are rarely performed in a college setting. This is why Narnia is the type of show E-52 can do very well. He thanks the membership and the production staff for the support and positive feedback!

XII. Tentative Schedule Auditions: December 3 and 4 from 6-11pm Callbacks: December 5 from 8-11pm Read-Through: December 8 at 1pm Standard Rehearsals: February 4-23 Move-In: February 24 Tech Week 1 (Scene Runs): February 25 – March 3 Tech Week 2 (Full Runs): March 4-7 Performances: March 8, 9, 14, 15, and 16 at 7:30pm March 10 at 2pm Brush-Up Rehearsal: March 13 Strike: March 16 after the last performance Matthew would design the rehearsal schedule in detail (every 15 minutes) so the actors present at their rehearsal time are actually needed for their particular time. Coordination of all meetings and staff attendance at those meetings will be the responsibility of the director. Winter session will be good use of time for artistic preparation and communicating with the PTTP about potential resources. Cast rehearsals will be comprised by type (fight or acting) and group (leads or full cast) in detail. Per week, including acting and fight slots, the goal would be 3 rehearsal days for ensemble members and 4 rehearsal days for most title roles, which is an average amount for a Pearson show. We’ll have weekly cast meetings to discuss progress. The acting is straightforward so it can be accommodated easily with our time slot.

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XIII. Résumés

Director MATTHEW DEC

Stage Experience in E-52 Student Theatre Spring 2012 The Complete Works of William Shakespeare (Abridged) Myself Fall 2011 Twelfth Night Curio Other Stage Experience May 2012 New York University Tisch School of Arts Sight and Sound Studio One Massage and a Rug Stain Later – Jeff Production Staff Experience in E-52 Student Theatre Fall 2012 Our Pop Culture Director, Writer Fall 2012 Short Attention Span Theatre IX Production Manager Spring 2012 Much Ado About Nothing Production Manager Spring 2012 The Phantom of the Opera Assistant Stage Manager Fall 2011 The Mousetrap House Coordinator Training at the University of Delaware Spring 2012 Resident Ensemble Players Directing Workshop Spring 2012 Resident Ensemble Players Acting Workshop Spring 2012 THEA241: Western Theatre: Live on Stage, Allan Carlson Fall 2011 THEA242: Page to Stage: Making Theatre, Allan Carlson Leadership E-52 Student Theatre Vice President 2012-2013 Blue Hen Ambassador University of Delaware Social Media Leader in Multimedia Wilton Debate Alumni Association Secretary Wilton Debate Team Co-Captain 2009-2011 Education University of Delaware Class of 2015 Major in Communication Interest Minors in Interactive Media and Performance Studies Notes Organized; detailed-oriented; approachable; dedicated; reliant; commonsensical. Has read and analyzed the book. Has viewed and analyzed the motion picture feature film. Has researched past stage shows.

Stage Manager

LAURA SPERLING Stage Experience in High School Spring 2012 Legally Blonde, the Musical Delta Nu Winter 2011 Mousetrap Leslie Casewell Fall 2010 Anything Goes Angel - Charity Fall 2009 Chicago Featured Dancer Summers 2008-2011 Gilbert & Sullivan Youth Company in the Capital DC Fringe Festival Production Staff Experience Fall 2012 Avenue Q Assistant Stage Manager E-52 Spring 2012 Legally Blonde, The Musical Student Director High School Winter 2012 Is He Dead? Assistant Director High School Fall 2010 It’s Not You Director High School Spring 2009 Noises Off! Properties Master High School Spring 2009-2012 Volunteered at local Middle School’s Gilbert and Sullivan Operettas Assistant Director and Properties Manager Training and Education at the University of Delaware University of Delaware Class of 2016 Major in Communication Minor in Theater Studies THEA104: Introduction to Theatre and Drama

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Production Manager MARK DISTEFANO

Acting Experience Professional: University of Delaware Healthcare Theatre College: Firmin in Phantom of the Opera Brian in Avenue Q Short Attention Span Theatre XIII High School: Tevye in Fiddler on the Roof Mortimer in Arsenic and Old Lace Albert Peterson in Bye Bye Birdie Jacob Marley in Christmas Carol Juror #2 in 12 Angry Jurors Narrator in Once on This Island One Acts Training THEA104 Introduction to Theatre and Drama THEA226 Fundamentals of Acting I THEA227 Fundamentals of Acting II THEA241 Page to Stage: Making Theatre Leadership Eagle Scout Freshman Floor Senator Education University of Delaware Class of 2015 Accounting and Finance Major Performance Studies Minor

XIV. Chair Signatures The following Chairs approve of their designated areas in this production proposal and all five leaders have signed the original proposal held in the E-52 Office. Properties Chair: Sparky Haden & Angel VanBennekom Technical Chair: Will Bryant Costumes Chair: Kiersten Gutherman & Carolyn Wright

Proposal submitted by Matthew Dec matthewldec@gmail.com

November 5th, 2012