A Behind-the-Scenes Look at UCA’s Theatre Department Productions
In room 103 in the Windgate Center for Fine and Performing Arts, the smell of fresh lumber permeates the room, circular saws buzz, students with staple guns and hammers converse, and there’s sawdust on the floor. While it may look like a chaotic scene, it is a finely choreographed part of an elaborate artistic process that will be showcased under stage lights in just a few weeks, as actors begin rehearsing for opening night.
To enhance experiential learning for its theatre students, UCA’s theatre program boasts two performance halls: the state-of-the-art James M. Bridges Black Box Theater in the Windgate Center for Fine and Performing Arts, which opened in the spring of 2023, and a 300-seat proscenium theatre in Snow Fine Arts. Each semester, UCA produces two workshop productions (student- or guest-directed), two faculty-directed productions (one musical and one “straight” play) and a showcase of student classwork.
Audiences get to experience the polished final product of months of preparation, including multiple meetings, collaborations, approval requests, design plans, construction, costuming and much more. In this behind-the-scenes look at UCA’s Theatre department, Technical Director, Production Manager, and Head of Design Austin Aschbrenner explains the complex preparations that go into every production.
Theatre majors at UCA receive a multifaceted, hands-on education in acting, design and production. These students have the opportunity to assist and collaborate with professors and mentors on faculty-led productions. Additionally, they learn practical skills through student-led productions, which prepare them for the professional field, and many secure employment before graduation across a variety of career paths.
From choosing the work to produce on stage to opening night as the lights come on, students and faculty alike go through a very intricate artistic process that may make it look easy. However, as with most creative works, the easier it seems, the more preparation, practice and work go into it. This magic does not happen with a few actors and some props. There are many moving parts and people involved with the artistry of the theatre.
To begin any production cycle, which might take up to four months depending on the type and size of the show, faculty from the department identify possible shows to produce. Aschbrenner explains, “We [the faculty] pick the shows; specifically, what we do is come up with a list of shows we’re interested in doing as a faculty, and then we pare that down to things we think are feasible. Then we throw it to the students. They go over them and get back to us on which ones they’re interested in.”
After decisions are made on which shows to produce, directors are selected, and UCA secures the necessary publication rights. Once the contract for the show is approved, that’s when, as Aschbrenner stated, “we can really start our process.”
In the first design meeting, the director and design team discuss the type of show it will be and the director’s vision for the final production. Designers then research, sketch designs and compile images. The next meeting involves the director seeing design ideas and commenting with the goal of having more concise ideas on costuming, light design, scenic design and more. They then go and rework it, continuing this process two more times after the second meeting, then comes building and construction.
Building and construction start with blueprints for scenic pieces. Ashbrenner, as technical director and production manager, draws up the blueprints. He explains, “Our scenic designer gets all of the drawings from design meetings and sends them to me. We have to consider where the scenic piece goes on the set and what each piece looks like. I draw it up like a blueprint, and this is how we build it.” As that is taking place, still more parts of the team are working to bring it all together.
Costume and lighting designers are also busy creating costumes and perfecting lighting designs to achieve the desired effect, using costumes, scenic pieces, props and more. Actors are chosen around the time of the second or third design meeting so that costume renderings and fittings may begin early, and the actors may begin rehearsing so they are ready for dress rehearsals.
Scenic pieces, constructed by students and faculty, are then painted. Technical aspects such as sound and lighting are programmed for the upcoming show, depending on audience seating, stage directions and the size of the space. There are two tech rehearsals at this stage. As it all comes together, dress rehearsals begin.
“So all of these things are coming together, and what I want people to know is that our department tries to mirror professional standards,” Aschbrenner said. “Our students build with tools they would use in a professional setting. We have a state-of-the-art facility here. Students learn design, lighting, sound and production. It’s rewarding to see them get jobs in technical theatre or skilled trades. When they leave, they are ready for the workforce.”
And, many UCA theatre and design students do just that. Aschbrenner continued, “I had students come to me just yesterday to tell me about the jobs they got. And, when I hear that, I just get so excited because they’re going places.”
“The easier it seems, the more preparation, practice and work
go into it.”
As the lights lower and the show begins, and the audience sees the first scene, months of meetings, designing, building, sewing, programming, rehearsing and so much more unseen work come together to showcase the skill and artistry of stage production. Collaborative action paired with experiential, hands-on learning takes it from paper to vision, to construction, to preparation and ultimately to the reality and beauty of the theatrical experience at UCA.
