Audrey Weeks, theatre education and language arts education major from Hastings, Nebraska, went from acting in “Willy Wonka JR.,” to directing it.

Weeks has been involved with Hastings Community Theatre (HCT) since she was 11, when her very first show was “Willy Wonka JR.” Now, years later and for her senior capstone project, Weeks moved from being on stage to directing the same show.

“Being able to do Willy Wonka JR. for my senior thesis is really amazing,” said Weeks, who will be a senior in the fall. Despite Weeks’ long history with HCT, this was her first time directing a show there, although she was an assistant director last year.

Normally for capstones, students direct a show at Scott Studio Theater on campus, but Weeks decided to pitch the idea of directing the summer children’s musical at HCT instead. Not only that, but she did her capstone earlier than normal—typically students produce their capstone during the spring of their senior year.

While Weeks’ capstone project is different from others, she still had to go through the same process. By January, each student must know the show they want to direct so they can gain the rights to it. Then the schedule for capstone class show season, which is typically April through May, gets put together. Each student must outline every aspect of their show and present it to their professor.

“You have to have all the designs planned out, blocking, script analysis, costume renderings, possible light plots and scenic moving. There were a lot of different elements that I had to work with,” Weeks said.

Since the children’s musical Weeks wanted to direct was in the summer, she was on a different timeline for her capstone. While the other capstones were finished in April after their performances took place, Week’s only began auditions during that time. She still had to finish the last parts of the project after the performances took place.

It might have been simpler for Weeks to do a normal capstone at Scott Studio Theatre, but her passion is working with kids.

“Everybody always asks me if I’m going to be on Broadway, but I want to teach the kids that are going to be on Broadway,” Weeks said.

When it came time for Weeks to hold auditions, she was shocked by the number of kids who showed up. More than 70 kids ranging from 5 to 18 auditioned for the show.

“The high interest from children and families in our community kind of instilled in me that we need children’s theater in Hastings,” Weeks said.

Since there were so many kids who auditioned and they wanted to foster this growth, they didn’t cut a large number of kids. Instead, they split the show in two, with the younger set doing a special 30-minute performance, and older kids doing the full 60-minute show which Weeks directed. Both productions happened in June.

Since the HCT’s children’s theater program is what created her love of theater, Weeks wants to pass that on to future kids. After she graduates she hopes to stay in Hastings and continue to create a community between �㽶��Ƶ theater and HCT.

Giving kids a space to enjoy theater is important to Weeks, and the kids in the show can tell. Ezekiel Verhage who played Willy Wonka and Silas Haynes who played Charlie Bucket both loved having Weeks as their director. 

“I love working with Audrey. She is so nice and so fun. I really hope she continues to direct and I work with her again,” Haynes said.

There were some ups and downs for Weeks during this production, especially having to work around a whole new second production, but it’s worth it to her.

“All the kids are so great, they’re so talented. They blow me away every rehearsal,” she said. “It’s very heartwarming for the kids to act on stage and express a different part of themselves.”

By Ally Banks, a junior English major from Shawnee, Kansas

Though Knehans has always been creative at heart, her path to finding her niche as an artist was far from straightforward. Coming into �㽶��Ƶ, Knehans majored in theatre arts and planned to become an actor, but unintentionally found a passion for set design and scenic art.

“When I didn’t get cast in the spring show my freshman year, [then theatre professor] Annette Vargas knew I had been in some studio art classes and invited me to help with painting the set for a production of “Harvey”. I decided to try something new and ended up loving it. I extended my �㽶��Ƶ degree by adding a studio art major and getting really involved with the art program, while continuing my involvement with theatre as well.

A testament to her involvement in the arts on campus, Knehans was the president of the �㽶��Ƶ theatre honorary APO and the JDAC Artist Guild her senior year.

Her diverse creative background and willingness to try new things highlighted Knehans’s resume, and ultimately set her apart from other candidates when applying to CalArts. Before applying to CalArts, Knehans stepped out of her comfort zone again and moved to Connecticut to complete a residency at an equity theatre after graduating. This helped Knehans gain more professional experience, network with professionals and build her portfolio before applying to CalArts‘s exclusive program.

Knehans began the CalArts application process the winter after graduation and found support from her former professors at �㽶��Ƶ, and continues to keep in contact with many of them.

“In the application I really tried to highlight a theatre and a studio art background. Three professors wrote me letters of recommendation and one also looked over my application. My professors at �㽶��Ƶ were the greatest, not only were they my mentors but they kind of took care of me and checked up on me too. So I think that staying connected is a big deal in my artistic growth,” Knehans said.

When CalArts went all online during 2020, Knehans decided to defer a year until she could continue with in-person classes. She made the decision to move back to Nebraska, where Knehans found several new opportunities through substitute teaching and working with the National Willa Cather Center, and Red Cloud Tourism in south central Nebraska.

Knehans was promoted from tour guide to the company’s visual specialist for a campaign to restore some of the local historical sites.Though she is back attending classes at CalArts, Knehans continues to map for them on a freelance basis.

Strong connections brought Knehans back to �㽶��Ƶ during summer 2021 to teach at Open Space,�㽶��Ƶ’s Immersive Summer Arts Program, and continue to impact her education at CalArts. Knehans believes her involvement at �㽶��Ƶ has benefitted her at CalArts.

“A big part of CalArts is collaboration, since technically it is separated into six different schools, making connections with people from different arts backgrounds is crucial for collaboration. I think my experience at Hastings prepared me for this because I always had friends from the music, history and science department. I’ve realized that a project can go from a 10 to a 100 just by bringing in people with different creative mindsets,” Knehans said.

Though branching out is something Knehans does continually, it looks different every time she does it. As Knehans continues her education and forms her professional goals, she hopes to continue to branch out and take advantage of the unique networking opportunities offered at CalArts, including alumni currently working with big name animation companies such as Dreamworks, Pixar, Sony and Disney Animation. Knehans wants to encourage fellow college students to take risks, seeing how they have paid off in her own life.

“I know that when I first started college I was shy and confined to a comfort zone, then I quickly realized that it needed to expand quite a bit for me to grow in what I love to do, which is art. Go experience something new or listen to someone else’s story because it just might be super interesting for you, as well as beneficial for you to learn how they got to where they are. Just branch out, and even in those moments of doubt, just go for it,” Knehans said.

By Landry Hinkson, a sophomore majoring in Communication Studies from Bazaar, Kansas.

CityYear is an education-based non-profit organization that helps inner-city schools boost student attendance, behavior, and course-work. Its goal is to decrease the national drop-out crisis in the United States through purposeful mentorship. The organization sends volunteers to work in systemically under-resourced schools.

There are 29 sites throughout the country that CityYear volunteers can go to. During the application process, volunteers have the option to pick their top three preferred locations or they can choose to be randomly placed anywhere. Heinlein and Paschal both chose to be placed anywhere. Heinlein was sent to Tulsa, Oklahoma, and Paschal to Sacramento, California.

Heinlein, a Hutchinson, Kansas, native, wasn’t sure what to expect in Tulsa, but he said it’s been a perfect fit for him. He discovered CityYear while looking for educational service work and a friend also suggested he give it a look.

The history and theater double major starts his days by greeting students as they come into school before going to the middle school math class he helps out in. Along with helping the entire class, he works closely with 34 students and does weekly five to 10-minute check-in meetings with each of those students.

When he initially came to college, Heinlein said he wasn’t the best at school, but history professor, Dr. Robert Babcock, helped him further his skills and overcome reading barriers he had during his first year. He said he uses the skills learned at �㽶��Ƶ to help the students he works with every day.

“Education is difficult for many to achieve. Language barriers, family, and many other things can get in the way,” he said. “Watching the students grow every day because of the work the other volunteers and I have done is the biggest reward.”

Paschal got involved with CityYear when she started to look at the AmeriCorps website her senior year at �㽶��Ƶ. The Mancos, Colorado, native continued researching the organization and realized it was a perfect fit for her.

Also placed in a middle school, the sociology and religion double major, works alongside an English teacher. She starts every day with a morning circle with her CityYear colleagues to prepare for their day of service. She then helps with morning support and checks-in with students before going to the classroom she helps assist in throughout the day.

In the classroom, Paschal helps students follow along with readings and stay on task. She also works individually with nine students to cultivate academic and social-emotional skills.

Paschal also supports students outside of the classroom by helping coach the volleyball and girls basketball teams.

“Getting to see students outside the classroom has strengthened my relationship with them because it doesn’t have to be so formal,” she said. “I think coaching them has helped them trust me more.”

Paschal said she uses �㽶��Ƶ professors as a model to work with students. She said her Hastings professors genuinely cared about her as a person and worked their hardest to make sure she and every student had a fulfilling, learning experience.

“My �㽶��Ƶ professors taught me to remind my students everyday that I care for them, I want them to succeed, and I want what is best for them,” she said.

Since CityYear is only a one year program, Heinlein and Paschal have to decide what comes next. While both are considering options, continuing another year with CityYear or going into education themselves are possibilities.

“Being in the schools has really changed my life because I never thought I’d want to be a teacher before, but now, it’s something I’m seriously considering because the students are what makes it worth it,” Paschal said.

By Courtney Hanson, a junior from Brookings, South Dakota, majoring in communication studies and philosophy and religion

“Modern day breweries hark back to the German beer hall as a space for people to come together and experience a sense of community and belonging,” said Ayala, executive director of the Nebraska Craft Brewers Guild and 2006 �㽶��Ƶ theatre graduate. “Beer isn’t supposed to be taken too seriously or be too fancy. It’s supposed to be for everybody.”

Ayala, the guild’s first full-time employee, was hired in 2017 to promote and advocate for Nebraska’s burgeoning craft beer industry, which has grown from 18 to 50 breweries since 2011, an increase of nearly 180 percent. With many beer drinkers focused less on alcohol content and more on flavor, variety and supporting local businesses, in-state sales of Nebraska-brewed beer grew from less than 500,000 gallons to nearly 1.5 million gallons over eight years.

“We want to make sure people are aware that we have a growing craft brewing industry in the state,” Ayala said. “We’re never going to compete with Colorado or California when it comes to the number of breweries, but we have some amazing breweries in unique places in Nebraska.”

At Steeple Brewing Co. in downtown Hastings, co-founders Anthony May ’06, Thomas Kluver ’07 and Rev. Damen Heitmann, former �㽶��Ƶ chaplain, brew beers inspired by the colorful characters Heitmann met during his time as a small-town pastor. (Brews include “Bats in the Belfry,” “Wayne Fell Asleep (Again),” and “International Preacher.”)

Though the personalities of Nebraska craft breweries vary widely, from Bootleg Brewers in Taylor to Bottle Rocket Brewing in Seward, they find common ground in the guild.

“For us, the guild has been an incredible resource,” said May, who also co-owns Idea Bank Marketing in Hastings. “It connects us with other brewers across the state, and their advice and guidance were crucial in establishing Steeple. Gabby has been great at bringing us together, representing us as a unified group and advocating for Nebraska beer across the state and country.”

From artisan wares to ciders and ales

Before taking the leadership role at the Nebraska Craft Brewers Guild, Ayala was for ten years executive director of Ten Thousand Villages, a non-profit store in Lincoln’s Historic Haymarket district that markets handcrafted products made by artisans in developing countries. Developing fair trade relationships with artisans and managing a wide-ranging inventory of baskets, jewelry, clothing and home decor, she honed her nonprofit management skills while learning to promote a diverse product line.

That expertise made for a smooth transition to the Brewers Guild, a nonprofit trade association that supports craft brewers through advertising and publicity, sponsoring educational events and serving as a collective voice legislatively. More than 95 percent of Nebraska breweries belong to the guild.

“We have other membership tiers like industry members, composed of folks who either sell or provide services to breweries, like hop farmers and insurance agencies. We also have retail supporters like bars and restaurants committed to serving Nebraska craft beer,” Ayala said.

Another tier is for “enthusiast” members (or “beer nerds,” as Ayala calls them) who love craft beer and are committed to keeping the taps flowing in Nebraska.

Ayala, whose position is supported by grants from the Nebraska Craft Brewery Board, works closely with Nebraska Extension at the University of Nebraska-Lincoln on events like the annual Nebraska Grower and Brewer Conference and Tradeshow, an educational event for regional hop growers and craft brewers.

“I really enjoy collaborating with other folks on events and conferences,” Ayala said. “I get a lot of joy from being with other people and making things happen.”

Transferring stage skills to the real world

Ayala traces her craft beer “origin story,” as she calls it, to her college days when she and her friends discovered the flavorful concoctions at Thunderhead Brewing in nearby Kearney, Nebraska. “When I turned 21, I wasn’t eager to drink beer, but then I discovered all the different flavors of craft beer.”

The theatre major stayed busy on campus acting in or directing plays ranging from “12th Night” to “The Mad Adventures of Mister Toad.” As a sophomore, she won the Dr. Hal Shiffer Award for excellence in theatre. She stays connected with the stage as a board member of Angels Theatre Company in Lincoln.

“I use my theatre degree every single day,” Ayala said. “Being a theatre major teaches you how to meet deadlines, manage projects and be part of a team. I learned all of that from my education at �㽶��Ƶ.”

Ayala comes from a long line of family members who graduated from or attended �㽶��Ƶ including her parents Tammy (Bower) and Diego Ayala, 1981 graduates; her brother Luis Ayala ‘08; and nine other relatives.

From her college days to her career at the helm of a busy nonprofit, Ayala finds great satisfaction in getting things done and making a difference.

“A lot of people think I drink beer all day for my job.” she said, laughing. “While there’s delicious beer involved in many parts of the job, it’s a lot more challenging than that.”

By Judee Konen ‘85, Associate Vice President for College Advancement

The theater and elementary education double major participated in a talent show during the annual Kool-Aid Days celebration in 2017 in Hastings, Nebraska. She entered under two different categories: singing and hula-hoop dancing and placed in the top three for hula-hooping. The top three winners moved on to the state competition, where Cremers won the entire show.

After winning, Cremers talked with Wynne Adams, director of the talent show, about her dream to record a song in a studio. Adams had a contact in Nashville who could make that dream a reality, so she connected Cremers with Mark Allen of Benchmark Productions.

Allen gave Cremers the option to travel to Nashville or record closer to home in Omaha. But as a Columbus, Nebraska, native Cremers wanted the opportunity to travel and flew to Nashville for a three day adventure. While in the recording studio, Cremers worked with several different musicians who helped make her dream song come to life.

“The musicians brought so many different talents that made the song better than anything I could have done myself,” she said.

Cremers musical performance career originally started as a second-grader when she and her brother were song leaders for their church. After a few years, she began expanding her music and joined an alternative rock band in high school, where she performed and started songwriting.

Her high school band, Scriptive, was made up of other high school students from Columbus, and they performed at multiple venues like garages, barns, and even did a few shows in Omaha.

After coming to �㽶��Ƶ, she strayed away from alternative rock and started to develop her individual musical skills further. Cremers had an internship in Omaha at a theater in 2018, and that’s where she began to do more acoustic singing at open-mic nights and came up with her stage name, C.C. Rose.

While attending �㽶��Ƶ, Cremers has received tremendous support from the campus and the community. She performed at The Lark Downtown, which �㽶��Ƶ ensured her peers would be able to attend free of charge.

“It was amazing to see the support I received from campus for that event, �㽶��Ƶ does a lot to make my dreams flourish,” she said.

Cremers has many aspirations in life, as a theater and elementary education double major, a singer/songwriter and a hula-hoop dancer, she has always felt encouraged to pursue what she wants to do. �㽶��Ƶ has helped her feel confident in her goal to create a business called, Hoopla 4 Health, which teaches students hula-hooping skills to focus on mental, physical and spiritual health.

“�㽶��Ƶ has helped me learn to be open to creativity and has given me the tools to take the road less traveled and combine all my passions into one,” she said.

By Courtney Hanson, a junior from Brookings, South Dakota, majoring in communication studies and philosophy and religion

While you won’t see them on stage during a performance, they enjoy experiencing the beauty of the music and helping make each performance a reality.

“We don’t create the music. We’re caretakers of it,” Kreitz-Couch said.

Kreitz-Couch manages Omaha Symphony

Kreitz-Couch, who doubled majored in English and theatre at �㽶��Ƶ, has worked for the symphony for eight years and is now the vice-president of orchestra operations and production. In short, she said her job is in the details. She schedules the venues, makes sure people are in their correct places, the correct music is in front of the correct musician, the lighting is correct and that the concert runs smoothly.

“Anything going on backstage or on stage is my job,” she said.

However, she said she’s not superwoman. She has an entire staff that works with her to make sure the concert is as beautiful and seamless as possible.

“We are a collective unit. I can’t do my job without the musicians and composers, and they can’t do their job without me,” she said.

Coffin appreciates the art community

Coffin has worked at the Omaha Symphony for 27 years and is the executive assistant to the president and CEO and the board of directors — and works with all departments of the Symphony.

Coffin studied theatre and English at �㽶��Ƶ and attended graduate school at Indiana State University. While her specialty was primarily in theatre, when she saw the job opening at the Omaha Symphony, she decided to apply. Coffin said she has always had a love for the arts and wanted to take on a new form.

“The whole arts community is vibrant and connected,” she said, “and the universal thrill and beauty of artistic performance made it easy to make the transition.”

Coffin has witnessed presidents and CEOs come and go from the Symphony, each with a new style and a different focus, keeping the job exciting. “And at heart, it’s all about the music,” she said.

Hendrix is new to the Omaha Symphony

Hendrix majored in history and music at �㽶��Ƶ and has worked several places across Nebraska before landing at the Omaha Symphony in the past year.

Hendrix is the associate director of development and is in charge of fundraising to support the main stage productions. It’s a natural fit because his love for music led him to the organization. The Omaha Symphony is the only professional full-time orchestra in Nebraska, and while he may not be making the music, he’s helping the performers share theirs.

“When you see people so engrossed with the music happening on stage, and people react to the art made, that’s truly special,” he said.

�㽶��Ƶ helped all become versatile

All three graduates believe �㽶��Ƶ helped them get to where they are today through the exposure to a broad spectrum of activities and academics.

“You have your core classes and your major classes. The classes were so varied it gave me an opportunity to learn new things, to see how everything was connected, and to find what I’m truly passionate about,” Kreitz-Couch said.

Coffin and Hendrix agreed that their �㽶��Ƶ liberal arts education shaped them as a whole, teaching them both how to look at things from multiple perspectives.

“There was never a class I didn’t want to go to,” Coffin said. “It’s always a joy to learn new things.”

By Courtney Hanson, a sophomore from Brookings, South Dakota, majoring in communication studies and philosophy.

“I do everything,” Rieflin said. “I came in and they asked what I wanted to do, and I said, ‘I want to learn how to run a theatre.’ So far, I’ve been assistant stage manager, I’ve run lights and sound and I designed props.”

Rieflin’s expectations of what this summer with PFP would look like have changed drastically during his time in Chicago. “When I first got to Chicago, I expected to do grunt work that maybe didn’t matter as much to the final production,” Rieflin said. “But they put me in the thick of things, and I’ve learned a lot because of it.”

Rieflin says his ability to thrive in the hands-on environment at PFP is something he learned participating in theatre at  �㽶��Ƶ. “My experiences at �㽶��Ƶ have been instrumental,” he said. “The Theatre Department really taught me what to expect.”

While Hastings gave Rieflin the tools he’s needed to be successful at PFP, the skills he’s gained at PFP will be invaluable as he returns to �㽶��Ƶ in the fall. “PFP does two shows per space, so four shows at a time,” Riefin said. “The ability to step into a new role as frequently as I have is something I’ve had to learn quickly and it’s given me a lot of confidence.”

Rieflin says he plans on doing theatre for the rest of his life, and that his summer in Chicago with PFP has given him the tools he needs to make that dream a reality. “I’ve also made so many connections with wonderful people while I’ve been here,” Rieflin said.

When Rieflin learned about the Chicago Center during his junior year, PFP seemed like a perfect fit. “I talked to Lane [Chesebro, Executive Director of the Chicago Center] and he told me about PFP. Being from a small town, I didn’t have much experience with the LGBTQ+ community, and I wanted to get to know this community that I was a part of,” Rieflin said. For Rieflin, working with PFP has given him the perfect opportunity to combine these two parts of his life.

“I grew up in a small town and love living there, but I never wanted to blind myself to the rest of the world,” Rieflin said. “So the thing that has impacted me the most is the diversity of the people I work with. Everyone is from different backgrounds, and it has really shown me how big the world is. I wanted a diverse experience and to open myself to the world, and I’ve gotten that this summer.”

By Anna Weber ‘18

As head designer in the �㽶��Ƶ Costume Shop, which is embedded in the Theatre Department, Holcomb has crafted clothing for eccentric French women in “The Madwoman of Chaillot,” Christmas elves in “Glimmer, The Elf” and noble knights in “Spamalot the Musical.” Her most recent work, a wardrobe constructed almost entirely by hand, graced the stage for the Theatre Department’s production of “Eurydice.”

This summer, Holcomb tested her skills with an 11-week internship at the Theatre Barn in New Lebanon, New York.

In her role as the Theatre Barn’s assistant costumer, Holcomb helped design and construct the wardrobe for six summer stock productions. She also gained experience in costume fitting, shoe repair and hair and make-up styling, among other areas of costuming.  

One wardrobe a week

Although Holcomb is no stranger to working on theatrical productions — her resume experience extends back to 2011, and she’s helped with almost every �㽶��Ƶ show during her collegiate career — the demanding schedule at the Theatre Barn presented a new challenge.  

At �㽶��Ƶ, cast and crew have nearly 45 days to organize a production. At the Theatre Barn, she had less than two weeks.

“The Theatre Barn is a summer stock style of theater, and every two weeks it produces a new show,” Holcomb said. “That means there is 11 to 14 days of pre-production for each show. The costumes have to be ready to wear by the dress rehearsals, so we have about nine to 12 days to create a full wardrobe.”

In that time, Holcomb and her colleagues had to fit each actor, design the wardrobe, cut each pattern and hand stitch any special details. With an entirely new cast each show, there was no shortage of tasks for the costume shop throughout the summer.

Fostering independence with mentorships

Much like the wardrobes she creates for the stage, Holcomb created her own path to her fast-paced internship at the Theatre Barn. She applied to more than 30 positions prior to the summer, completing most of the applications on her own.

“Right after J-Term, (�㽶��Ƶ professor) Jim Fritzler and I start telling students to look for summer work. We even post opening in the theatre of opportunities we feel might benefit our advisees,” said Annette Vargas, assistant professor of theater and Holcomb’s faculty advisor. “Rebecca took it one step further. She contacted people she’s worked with previously to ask for their advice on where to apply.”

Holcomb said independence is an important skill she’s learned from her �㽶��Ƶ mentor. Instead of involving herself directly with a student’s professional endeavors, Vargas offers guidance from afar. While she might suggest a student pursue a certain path, she leaves it up to each individual to complete their own work, make their own decisions and ultimately create their own successes.

“As an advisor, Annette wants us to have a hands-on experience, and she knows that for us to do that, she has to practice hands-off teaching,” Holcomb said. “She isn’t going to fill out the application for you or hold your hand along the way, but she will be there to give you advice and help with whatever you need.”

Vargas’ hands-off mentorship paid off for Holcomb, who was offered seven different internships after her first round submitting applications independently. From there, Holcomb sought Vargas’ advice in selecting the internship that complemented her skills and interests the most.

Holcomb settled on the Theater Barn because it offered ample opportunity to explore the different aspects of costuming, her area of interest.

“We recognized that Rebecca would be able to work in all three areas of costuming at the Theatre Barn. This summer, she experienced backstage wardrobing during productions, shadowed the costume designers as they fit each actor and sketched the costume designs and worked alongside the production staff and builders as they actually constructed the costumes,” Vargas said. “She also was head of the hair and makeup department!”

Refined focus for the future

Holcomb’s full taste of the costuming industry allowed her to explore the two primary branches of costuming: design and production.  

Costume designers are responsible for sketching the visual representations of the costumes. The designers determine what the wardrobe for a show should look like. Costume producers construct a show’s costumes based off the designer’s vision. In the theatre, they are known as “builders,” because they build the physical wardrobe that is displayed on stage.

Holcomb’s experience at the Theatre Barn directed her focus to costume production. While she already knew she enjoyed constructing costumes, the summer solidified production as a career path.

“This summer at the Theatre Barn helped me realize that building is my favorite part of costuming,” Holcomb said. “I love nothing more than seeing an actor put on a costume that I made, and watching the character burst into life.”

To act upon her refined focus for her future, Holcomb has started applying for graduate programs in costume production. Although these programs often suggest students gain professional experience in the field before applying, Vargas said she believes Holcomb is an eligible candidate.

“Her dreams and aspirations are highly focused, and she can follow through with what she says she can do. She’s ready for that next step in her professional career,” Vargas said. “If she lets her work and experience show, she will build a successful future for herself doing something she loves.”

By Mallory Gruben, a senior from Eckley, Colorado, majoring in journalism

Tom Reynolds ’98 has been working behind the scenes on “The Lion King” at the Minskoff Theatre in Times Square in New York City since 2007. As one of the show’s five stage managers, he is responsible for making sure what happens on stage goes off without a hitch. Armed with a headset and flashlight, Reynolds keeps the actors and crew on track and troubleshoots occasional problems so the audience never sees a mishap.

“We check that everyone has arrived and everyone is working. One of us will call all the lights and sound cues. There’s one person on either side of the stage and one in the basement,” he said.

The musical, which has won 70 major theatre awards and is the third longest running show on Broadway, is performed eight times a week.

Reynolds started out as an art major at �㽶��Ƶ, but in a required theatre class, his passion broadened.

“I sort of found my people,” he said. “With the Theatre Department, you are in such a group environment.”

He transferred to a university for one semester until he realized that he had to be a graduate student in order to do the things he had already been doing in the HC Art and Theatre Departments. He returned to Hastings to earn a double major in art and theatre.

“At HC, doing was learning. At other schools, you’re sitting there and listening,” said Reynolds, who relished the opportunity to hone many different art and theatre skills at HC. “That helps prepare you for a professional career. You’re not just good at one thing, you’re good at a lot of things.”

Story by Amy (McGraw) Palser ’99

Amy (Krobot) Rummel ’94, Kori (Else) Radloff ’95 and Jessica (Hardy) Brummer ’04 are all marketing directors working to promote the arts in Nebraska’s largest city.

Rummel is director of marketing and public relations for Joslyn Art Museum, Radloff is director of marketing for the Rose Theater and Brummer is director of marketing and public relations at Durham Museum.

“It’s actually really interesting that you have three �㽶��Ƶ grads working for three major arts organizations in Omaha,” said Rummel, who earned degrees in English and public relations at HC and joined the Joslyn staff in 1998.

The trio’s paths often cross when working on tourism strategies, planning joint events or even when doing media interviews.

“We run into each other in the funniest places,” said Radloff, who started out majoring in theatre and music at HC but later switched to communications. “We run into each other in the lobbies of radio stations!”

Brummer said she and Radloff partnered together this summer when Durham featured the “Shipwreck!” exhibit and the Rose Theater performed “The Little Mermaid.”

“The Omaha arts organizations really are a tight-knit, supportive group. We’re all unique in what we do, but we’re all important to the community,” said Brummer, who studied advertising and communications at HC.

Durham is a museum of history, culture, science and industry located in Omaha’s old Union Station. Joslyn has an expansive collection of art from around the world, including sculpture, pottery and paintings that date from ancient to modern times. The Rose Theater provides live shows and education for children and families, presenting nine main-stage shows a year and 16 shows in its black box theater.

The three women said they love that their jobs allow them to be immersed in art and to encourage others to do the same.

“The arts are really a major factor in quality of life,” Rummel said. “If people are considering where they want to live and work, the art scene really plays a large part.”

Brummer believes a community is healthy when it has strong arts organizations, so it makes sense for the three HC grads and colleagues to support one another.

Said Radloff, “We’re all trying to encourage a love of the arts.”

Story by Amy (McGraw) Palser ’99