During 麻豆原创 Celebrates the Arts 2026, Legally Blonde took the stage with a twist audiences didn鈥檛 see coming 鈥� one that blurred the line between performance and possibility.

The story still delivered the heart: College student Elle Woods chases love, faces doubt and ultimately discovers her own strength along the way. But this production layered something new into that journey: state-of-the-art robotics. At 麻豆原创, Florida鈥檚 Technological University, innovation shows up in unexpected places 鈥� even onstage.

The result was a show that felt both nostalgic and forward-looking, where dynamic musical theater met emerging tech.

Musical theatre major Lyric Stratton played the perfect protagonist, Elle Woods, whose dreams of settling down after college graduation are cut short when her boyfriend, Warner, breaks up with her to attend Harvard Law School. Devastated and determined to get him back, Woods pulls together an unconventional application and charms her way into Harvard Law.

High-energy dance numbers powered the production from start to finish. In one standout scene titled 鈥淲hat You Want,鈥� Woods turns her Harvard application into a full-scale performance, trading a traditional essay for a show-stopping number alongside the UCLA cheer team.

The number featured 25 students on stage and took 13 hours to stage.

Three characters led a Harvard admissions conference room scene, delivering sharp dialogue as they debated Woods鈥� fate.

From left: Joey Fields as Winthrop, Tristan Haberland as Lowell and Jasper Allen as Pforzheimer.

Just as the audience settled into the story, two robot dogs stepped into the spotlight. During the nine-minute number 鈥淲hat You Want,鈥� they appeared in a Harvard campus scene where engineering students 鈥� played by theatre majors Mia Freeman and Isabel Ramos 鈥� walked them around as UCLA cheerleaders looked on in awe. In a brief but striking moment, technology wasn鈥檛 just a prop 鈥� it became part of the story.

Operated live on stage, the robots transformed the moment into a seamless blend of performance and engineering. Freeman and Ramos were trained by Mohsen Rakhshan, assistant professor in the Department of Electrical and Computer Engineering (ECE) in the College of Engineering and Computer Science, and his graduate teaching assistant, Chinmay Dhanraj Nehate.

鈥淲e鈥檙e seeing the incorporation of robotics into different things at an accelerated rate, including art. It’s exciting,鈥� says Rakhshan, who closely collaborated with the production鈥檚 director to bring the robots into the show.

The electrical and computer engineering department houses 15 state-of-the-art robot dogs, nine of which are in Rakhshan鈥檚 Laboratory for Interaction of Machine and Brain. There, he and his graduate teaching assistant use them for both instruction and research 鈥� teaching an Introduction to Robotics course and training the robots to navigate the uncertainties of real-world environments.

During last year鈥檚 annual 麻豆原创 football Space Game, Michael Jablonski, assistant professor of musical theatre in the College of Arts and Humanities, watched the ECE department鈥檚 robot dogs in motion across the field. At that moment, he saw more than entertainment 鈥� he saw the potential for storytelling. A way to take something typically confined to classrooms and labs and give it emotion and meaning.

When planning聽Legally Blonde, a story rooted in breaking expectations, the idea came naturally: why not let innovation share the stage?

Even with its high-tech twist, the show stayed true to its roots 鈥� including Bruiser, Woods鈥� loyal (and stylish) Chihuahua, brought to life by a real dog named Marty McFly.

During 鈥淲hipped Into Shape,鈥� fitness guru Brooke Wyndham, played by theatre major Isabel Ramos, led her cellmates through a relentless workout. Accused of murder, Wyndham refused to reveal the truth when Woods visited 鈥� unless she could keep up 鈥� turning the moment into a high-energy number where actors sang while performing intense jump rope choreography.

In the climactic courtroom scene, Woods took the lead, defending Wyndham and using sharp instincts, wit and confidence to expose the real culprit. It was a defining moment where she proved she belongs, blending intelligence, intuition and boldness to win the case.

Front row from left: Lyric Stratton as Elle Woods, Isabel Ramos as Brooke Wyndham and Jaxon Ryan as Emmett Forrest.

Along the way, Woods stops chasing approval and finds her confidence, purpose and voice. This central theme drew Jablonski, Legally Blonde production director, to the female-driven story.

鈥淭his story showcases how a very strong, intelligent woman [Elle Woods] finds her way in a male-dominated world. She initially follows love, but through it, she finds a space where she fits perfectly,鈥� Jablonski says. 鈥淭hrough being misjudged and stereotyped, we come to see that she鈥檚 far above the people around her in her thinking and in the way she brings humanity into her work as a lawyer.鈥�

What audiences saw was only part of the story. Behind every scene change, lighting cue, and musical number is a network of students, faculty, and staff working in sync 鈥� often just out of sight. Behind the curtain, more than 50 people managed lighting, sound and scene transitions in real time.

The music didn鈥檛 just support the story 鈥� it drove it. Legally Blonde, presented through special arrangement with Music Theatre International, featured music and lyrics by Laurence O’Keefe and Nell Benjamin, with 23 total musical numbers. The book is by Heather Hach.

Projection-mapped animations and imagery 鈥� created with QLab software and delivered through two high-brightness front projectors 鈥� were precisely timed to the music, blending seamlessly with choreography and lighting to shape the show鈥檚 visual rhythm.

鈥淓ach scene had its own visual identity, with projections adding specific details that help it stand out,鈥� says Tim Brown, associate professor of theatre design and technology. 鈥淭he goal is to support the show鈥檚 fun, colorful world in a clear and energetic way.鈥�

Costuming defined each character with bold color and precise detail. Huaixiang Tan, professor of costume and make-up design in the School of Performing Arts, led the design, with support from assistant costume designers Sabrina Cervilla and Aisha Bader-Ortega. The production featured more than 100 costumes, each the result of hundreds of hours of craftsmanship.

In the Theatre 麻豆原创 scene shop, students began using hands-on technical skills to build and refine set pieces in January.

Built through layers of paint, planning and precision, the set came together as a large-scale collaboration among more than 40 students.

Designed for transport, much like a touring production, the set added an extra layer of complexity and was built to be assembled at the Dr. Phillips Center for the Performing Arts. It was completed and delivered on March 30.

This year, the festival spotlights the powerful connections between two influential art figures 鈥� the artist Marc Chagall and the composer George Gershwin 鈥� and an iconic musical Fiddler on the Roof.

The Connection Between Marc Chagall and Fiddler on the Roof

Chagall, a Russian-Jewish painter known for his dreamlike imagery and use of vibrant colors, drew inspiration from his childhood in a small Jewish village in Eastern Europe. The image of the fiddler repeatedly occurs in his work. Over time, the fiddler began to symbolize Jewish heritage and the preservation of tradition.

Notably, the image of the fiddler on the roof, demonstrated in a series of Chagall鈥檚 paintings, including his 1912 work Le Violoniste (The Fiddler), served as inspiration for the title and imagery of the musical Fiddler on the Roof. This production tells the story of Tevye, a Jewish father struggling with the changing traditions in the fictional Russian town of Anatevka. The production later became an Oscar-winning film in 1971 and has since become a beloved story by many worldwide.

鈥�Fiddler on the Roof demonstrates that culture and family traditions are not fixed in time, but that they evolve, and it鈥檚 important to embrace that fluidity,鈥� says Julia Listengarten, professor and artistic director of Theatre 麻豆原创.

Theater 麻豆原创 chose to showcase Fiddler on the Roof at this year鈥檚 festival for its global appeal and artistic richness. The production鈥檚 themes of family values and tradition explore the challenges that occur when norms change.

George Gershwin: A Product of Cultural Change

George Gershwin, an American composer and pianist, was born in 1898 to Russian-Jewish immigrants in Brooklyn, New York. As part of the 鈥渘ew immigration鈥� to the United States in the late 19th century, his parents were influenced by the changing political life of Eastern Europe. Growing up in a city that became a hub for Jewish immigrants fleeing political upheaval in his family鈥檚 homeland, Gershwin鈥檚 upbringing had an impact on both his identity and music. His work incorporates his Jewish heritage and the American experience, relating to the overall theme of adapting to evolving change. Perhaps his most famous piece, Rhapsody in Blue, combines both elements of the nascent jazz music he heard as a young man with traditional Jewish melodies.

The Benefit to 麻豆原创 Students

麻豆原创 Celebrates the Arts provides students with hands-on experiences while also immersing them in cultural history.

Under the guidance of Debi Starr, associate lecturer of Studio Art, over 300 students from the are bringing Chagall鈥檚 imagery to life through 3D sculptures.

鈥淭his is a subject matter the students would never have researched on their own,鈥� Starr says. 鈥淓ach group of students had to write a research proposal to understand the history behind their work. It’s been a great learning experience for them.鈥�

Through this process, students have expanded their design skills by learning how to replicate Chagall鈥檚 abstract painting style, using tools like laser cutters to develop sculptures that closely mirror his work.

The benefits go beyond the visual arts department. Students involved in the production of Fiddler on the Roof are not just performing an iconic musical; they鈥檙e fully immersed in a narrative about Jewish identity, tradition聽and resilience.

鈥淚鈥檝e gained my historical perspectives through the shows I鈥檝e helped produce and the research they have led me to,鈥� says Michael Wainstein, director of the . 鈥淏eing part of this production will give students a different perspective on how history shapes people today.鈥�

A Celebration of Art and History

The festival will feature a special talk titled The Life and Work of Marc Chagall, presented by art historian and 麻豆原创 School of Visual Arts and Design Assistant Director Keri Watson and theatre professor Listengarten, to discuss the artist鈥檚 impact and legacy. Attendees can look forward to a special lineup, including A Gershwin Celebration, a pre-show talk with Ken Hanson, 麻豆原创 professor of Judaic studies, before the opening performance of Fiddler on the Roof on April 10, with additional performances through April 13. The festival also features Celebrating Chagall 3D sculptures displayed on the grand staircase of the Dr. Philips Center for the Performing Arts and much more.

麻豆原创 Celebrates the Arts 2025 promises to be an enriching experience for the Central Florida community. For more information and to purchase tickets, visit the

Tollefson is the resident costume designer for Theatre 麻豆原创 and knows her way around a sewing machine. He asked her if she would be willing to make 80 face masks.

Without hesitation, Tollefson said yes and enlisted the help of her five daughters to help her finish the job faster.

鈥淚 wanted to help my community in any way I could. This is what theatre people do 鈥� we figure it out and make it work no matter the circumstances,鈥� she says.

Tollefson has been teaching at 麻豆原创 since 2000. Metzger and his wife, Linda, moved into her neighborhood five years ago, and they struck up an immediate friendship.

Metzger considers the Tollefsons part of the family. Tollefson鈥檚 daughters 鈥� ages 17, 15, 14, 13 and 9 鈥� often visit the Metzgers to play with their terrier mix, Sadie, so they were eager to join in the project and help their friend.

鈥淸Kristina] and her husband, Jason, are the most giving and caring people I know.鈥� 鈥� 麻豆原创PD Chief Carl Metzger

鈥淚t isn’t surprising that Kristina and her family are doing this.聽She and her husband, Jason, are the most giving and caring people I know,鈥� Metzger says.

Homemade and High Quality

Tollefson has a small costume-shop studio at her house where she often spends time with her daughters doing crafts, weaving and sewing. Since they began the project Saturday, they spend most of their days in the studio cranking out masks on three sewing machines and a serger, which trims and locks seams.

Tollefson says most of the materials used for the masks have been from her personal stash with the exception of a few yards of fabric from 麻豆原创鈥檚 costume shop. She has been using grosgrain ribbon as ties, but as her stock started to deplete, Metzger鈥檚 wife purchased and delivered some 麻豆原创-themed fabric, which she left on the doorstep, to replenish and keep operations moving.

For the mask design itself, Tollefson is using a guide she found on the . The AB Mask 2.0 was created by Jessica Nandino, a former trauma nurse. All the masks are black and gold 鈥� with scrap cotton fabric of various colors used as lining 鈥� and are made with a heavyweight cotton jersey knit.

鈥淭he outside all looks very official,鈥� she says, 鈥渂ecause I鈥檓 a costume designer, so I was concerned that they had to go with the uniform.鈥�

She can鈥檛 say for certain how long it takes for them to complete one mask because they鈥檙e also juggling the kids鈥� school work in between sewing sessions. Tollefson, who is currently on sabbatical while writing a book, says they have set up an assembly-line and each daughter has her own specialty.

They delivered 24 masks already and have another pile of 30 that are nearly finished.

鈥淥ur officers love the masks,鈥� Metzger says.聽鈥淭hey are more comfortable than most masks because of the tie-strings.聽They also have a built-in pocket to add in filtering material when it becomes available.聽And they are wicked cool with 麻豆原创 colors and 麻豆原创PD embroidered on them.鈥�

鈥淚f you look throughout the world, there are a lot of artists that are stepping in and using their skills right now to try to help in whatever way they can.鈥� 鈥� Professor Kristina Tollefson

While Metzger has requested 80 masks, Tollefson plans to keep sewing as long as masks are needed. Her desire to make an impact in the community is inspired by her late friend, Harriett Lake, who was a devoted philanthropist to Orlando鈥檚 arts scene.

鈥淭he arts sometimes are looked at as superfluous to society, but in a crisis, we step in and help heal and support the people who need it,鈥� says Tollefson, who also helped craft and organize volunteers to stitch the Angel Action Wings following the Pulse tragedy, which blocked protests at victims鈥� funerals. 鈥淚f you look throughout the world, there are a lot of artists that are stepping in and using their skills right now to try to help in whatever way they can, in practical ways 鈥� not just in making people feel good or making them think, but using our skills to help people.鈥�

Students taking Introduction to Puppetry and Object Theatre this fall with Ayelet Golan, a visiting professor with the Israel Institute鈥檚 Visiting Artists Program, are doing just that.聽聽and聽Judaic Studies聽worked together to obtain the grant for the visiting artist. Only a few weeks into the semester, these students have already created stories using dolls, stuffed animals and their imaginations.

Golan is a story in and of herself. Successful in her field, her art has been displayed all over the world. As a teacher for the past 10 years, Golan employs a 鈥渧ery curious eye鈥� to explore reality with her students. Her office hosts a display of these explorations and adventures: misplaced doll parts, foliage, trinkets and figurines adorn her walls and desk.

Golan聽is a theater director, puppeteer and performer whose work has been presented at festivals and venues across the globe, including Israel, Europe and the United States. She also has extensive experience as an acting coach, creative process facilitator and dramaturg.

Golan has a talent for finding the curious in the world around her.

As evidenced by her collections, Golan has a talent for finding the curious in the world around her. Orlando gives her time to explore, stare and think, she says. She鈥檚 amazed at the area鈥檚 juxtaposition between rows of organized, well-done houses and dynamic, unpredictable environments.

鈥淚t鈥檚 very refreshing, very different from Israel,鈥� she says. Golan has also been impressed by her students鈥� thirst for knowledge. She鈥檚 felt welcomed by the kind people in the community.

As her students learn about contemporary puppetry, object theatre, visual languages and more, Golan hopes they see that the mistakes they make are the most important part in the creative process and in life.

鈥淚 want to聽mistake聽with them,鈥� says Golan, 鈥淭heatre is fun! If you want to find some good answers, first you need to celebrate your mistakes and acknowledge your stupidity.鈥�

What can other 麻豆原创 students learn from Golan鈥檚 puppetry class? It鈥檚 not only the traditional methods of singing puppets and stuffed animals. It鈥檚 a point of view.

鈥淚t鈥檚 a way to put something else in front of you,鈥� she says. 鈥淪ound can be a puppet; the text can be a puppet. You want to make it vivid; you want to bring it to life. You give the text life through you.鈥�

It鈥檚 been a little over seven months since she began performing in The Prom, and she still feels those emotions 鈥� plus, exhaustion.

鈥淏ut exhaustion in the best of ways,鈥� she says. 鈥淚n some ways, it鈥檚 everything I expected it to be: thrilling, exciting, emotional; but in another way, it鈥檚 nothing I expected it to be. We all love the show so much and are deeply connected to it.鈥�

With The Prom being a brand-new musical, there鈥檚 endless pressure for the show to be a success, something each company member feels personally.

Fortunately for them, it has been.

The Prom聽was the first musical of the 2018鈥�2019 Broadway season to be named a聽New York Times聽Critics Pick, and has been nominated for 28 awards so far in 2019 鈥� seven of them being Tony鈥檚, including Best Musical. The awards ceremony airs June 9 at 8 p.m. CBS.

Ahead of the biggest night in theatre, The Prom聽won the prestigious Drama Desk Award for Outstanding Musical.

鈥淭he competition is stiff. We call ourselves 鈥榯he little show that could.鈥欌�� 鈥� Jerusha Cavazos on聽The Prom’s Tony Award nominations

鈥淲e鈥檙e thrilled beyond belief,鈥� Cavazos says of all the nominations. 鈥淭he competition is stiff. We call ourselves 鈥榯he little show that could.鈥欌��

And it could. The Prom has become one of the most impactful productions on a Broadway stage, resonating with audiences and being lauded by critics and professionals alike. The Prom follows the story of a lesbian student who just wants to take her girlfriend to prom in a small, close-minded town that won鈥檛 allow it 鈥� and the band of Broadway stars who try to make it happen.

鈥淭he audience reaction is surprising 鈥� the message of unconditional love and respect, no matter your political, religious or cultural background, seems to have reached beyond just the expected audience. It鈥檚 transcended it. And to me, that鈥檚 one of the things theatre does so well 鈥� touch people.鈥�

It鈥檚 been especially important for Cavazos to be part of this cultural narrative.

鈥淭he impact and resonation are deeply personal for me. I lost a dear friend and coworker, Shane, in the Pulse shooting in Orlando, and another friend barely escaped with his life,鈥� says Cavazos, who dedicates her performances each night to Shane. 鈥淭he show has helped me heal. Every day, I am reminded that love wins.鈥�

Before her debut, Cavazos first had a role on the show Atlanta on FX in April and performed in Jesus Christ Superstar in Chicago through May of last year. Even with such a successful whirlwind year, during her visit to campus in October, she gave new musical theatre students a masterclass and reflected on her roles, her journey and her own prom.

Congratulations on your Broadway debut! Do you recall how it felt getting ready to take the stage?

I had so many mixed emotions then. So grateful and excited … literally bursting with joy. At the same time, I was nervous and still in shock that I get to go on a journey that I鈥檝e been dreaming about since I was 10. There are days I walk to the theatre and ring the stage door buzzer with tears in my eyes. I鈥檝e walked past many Broadway stage doors dreaming of what it would be like to enter it as an artist performing on that stage. I get to do that now. It feels surreal and I鈥檝e been trying to be present in every moment, taking it all in, with so much gratitude.

“I am still in shock that I get to go on a journey that I鈥檝e been dreaming about since I was 10.” 鈥� Jerusha Cavazos

What have you learned since your debut?

I think the best thing I learned is how to take care of myself. I learned from my parents how to eat right, exercise, do preventative things like take vitamins and supplements, but this is a whole other level of 鈥渢aking care鈥� 鈥� like saying 鈥渘o鈥� to going out and just going home to sleep, taking time to meditate and be silent to rest my voice and my mind, endless hours of physical therapy to keep my body healthy, etc.

Tell us about the show and the role you鈥檙e playing?

In a nutshell, the show is about acceptance and love.聽This story will have you laughing so hard you can鈥檛 breathe 鈥� and then, it will have you crying. It is moving, honest and relevant.聽I play one of the high school kids in the show, in the ensemble.

Are there any memories from your own prom that inspired you in this production?

In high school, prom was SUCH a big deal. Finding the perfect dress, the date, how you were going to arrive, the after-party, etc. I remember going to so many different dress stores with my mother. My best friend and I planned out a party bus to pick up all our friends, and we went all out. These memories really help me with my character 鈥� when I remember just how important prom was to me then, it鈥檚 easy to really tap into the brain of a high school teen who just wants to have the best senior year and make memories.

What鈥檚 the most exciting thing about being in a new, original Broadway production?

There are so many exciting things about being in a new Broadway show, it鈥檚 hard for me to choose just one! So, I鈥檒l make a quick list:

1. Meeting and working with the writing team 鈥� this is so rare, and it鈥檚 so special to be part of.
2. Working with Casey Nicholaw (director and choreographer) and his team. I can鈥檛 express how amazing it is to watch this team work together. It鈥檚 pure magic.
3. Recording the original cast album聽鈥� a bucket list item for sure.
4. Working with designers. Getting to look at costume sketches that were designed with me in mind is just out of this world. Trying on wigs that were made for me is amazing. The design team are incredibly talented people.
5. And, there are also about 13 people making their Broadway debuts on this show. This is so special. The energy backstage and on-stage is electric. The Broadway vets are so excited for us, and I am thrilled that I am experiencing this life-changing moment with this group of people.

You recently had a part on FX鈥檚聽Atlanta. How is being on the screen different than being on the stage?

I loved working on Atlanta.聽Donald Glover is a genius and so generous, kind and very collaborative.

When I was shooting Atlanta, we would be on set for about 12 hours a day. The biggest difference is that in TV, you have to nail your action perfectly once, but you鈥檙e exhausted once the day is done because you鈥檝e worked on scenes for 12-14 hours. Once you get the shot you can move on to the next. In theatre, you have to recreate those moments every night, eight times a week. This requires a discipline that is individual to each actor. How you maintain and balance energy, keep moments fresh and honest, preserve your voice and body, etc. is unique to each actor.

How did your time at 麻豆原创 prepare you for your career as an actor?

I鈥檓 so grateful for my experience at 麻豆原创. I think that any program you enter as an actor becomes what you make of it. And I made the most out of my time at 麻豆原创.聽I took advantage of the many recourses that 麻豆原创 has. I did independent studies with professors and worked on perfecting skill sets I knew I needed to make it. Here鈥檚 the great thing about 麻豆原创: if you really want it, the professors are there to help guide you to do so. You just have to show up.

Do you have any advice for someone pursuing an acting career?

Just do it! Don鈥檛 let anyone or anything deter you. My dad always told me, 鈥淚f you feel you have something to say, say it; if not, get off the stage!鈥� I鈥檝e tried to live by that. It鈥檚 challenging because our business is so overwhelming at times and it can look impossible. But if you have any amount of talent and technique mixed with some good old-fashioned courage, you can make it. And it doesn鈥檛 matter where that happens. That鈥檚 the beauty of our business 鈥� there are many places where we can make that happen: New York, London, Paris, Berlin, Chicago, Los Angeles, Nashville and Orlando. Just go out there and do it! Also, don鈥檛 compare your journey to anyone else鈥檚. What鈥檚 meant for you is yours and cannot be taken away.

As a priest in the ensemble and the understudy to Legend, who is playing Jesus, Sargent has spent the past six weeks rehearsing and shaping the network鈥檚 latest concert special, which also features Sara Bareilles and Alice Cooper.

Sargent, from Trinity, Florida, has played the lead roles in Broadway productions of Rock of Ages and Spider-Man: Turn Off the Dark, so he is no stranger to performing on a big stage. But the magnitude of this one is starting to hit him.

鈥淓ven though there鈥檚 all these amazing celebrities and people popping in and out of rehearsals, the scale of it never hit me until I saw an interview that John was doing and he was talking about it,鈥� Sargent said, 鈥渁nd I realized, 鈥極h my God, this is going to be seen by millions of people. This is going to be filmed live. How are we going to do this?!鈥�

Sargent shared details from rehearsals, what it feels like to have super powers and why Cooper yelling in his face for two straight hours was one of the best moments of his life.

Q: How did you get your first big break into the industry?

鈥淎fter college, I worked in the theme parks and at a singing-waiter Italian restaurant in Fashion Square Mall. A new Spider-Man musical was going to Broadway and an open-call audition was going to be held in Orlando. I was the 180th person to audition. U2 wrote the music for the show, so when the casting directors asked what I was singing, I said, I Still Haven鈥檛 Found What I鈥檓 Looking For by U2, and they said out of 180 people, you鈥檙e the first person to sing a U2 song, so already you鈥檙e off to a great start!鈥� My audition went really well, so I got a call back. Eventually, I was asked to travel to New York to audition for the creative team. They asked if I had plans of moving to the city, and when I said eventually, they said I should do it sooner than later.

鈥淪o six months later I moved to New York. I emailed the casting directors from Telsey + Company that I had met in Orlando. They brought me in for Rock of Ages, and about nine months after I moved to the city I was doing my first Broadway show.鈥�

Q: After your stint on Rock of Ages you did end up taking over the role of Spider-Man. What鈥檚 it like to be a superhero?

鈥淚 was a huge comic book fan and a huge fan of Spider-Man when I was a kid. I remember [during the play] being in the costume every night and looking down at my hands with the red-and-black webbed gloves and thinking, 鈥楾his is crazy, I鈥檓 Spider-Man. I鈥檓 being hooked up to wires and flying around, this is the best!鈥� It was amazing.鈥�

Q: What鈥檚 been the coolest moment for you in working with the celebrity cast of Jesus Christ Superstar?

鈥淲hen I was 14 years old, my mother took me to see Alice Cooper on his tour. We sat in the second row of Ruth Eckerd Hall (Clearwater, Florida). Alice Cooper did his whole show in front of us 鈥� I could reach out and touch him if I wanted to. At the end of the show, they roll out this giant guillotine and 鈥榙ecapitate鈥� him, and his bass player picks up his head and drinks blood out of it and spits it all over my mom and I. I was hooked as soon as it happened. I was like, 鈥極h. My. God. That was the most amazing thing in the world!鈥� He came to our rehearsal one day, and he watched us do a run-through of the show. I was singing the Jesus role and he came up to me afterward and gave me a big hug. He was very complimentary and very kind, and I got to tell him that story.

鈥淭here鈥檚 a part of our show when Jesus is brought in front of King Herod, and he does this big flashy number in front of Jesus and taunts him quite a lot. So after I told him my story, for about two hours, I was just on my knees pretending to be Jesus while Alice Cooper screamed in my face. And it was one of the most surreal, amazing experiences. I鈥檒l never forget it.鈥�

Q: NBC has produced several of these throwback live productions. Why do you think they are so popular?
鈥淚 really believe that entertainment, in general, is cyclical. Back in the earlier part of the 20th century, the movie-musical was a huge part of the entertainment industry. Going all the way back to Charlie Chaplin and the Marx Brothers and then of course with Bing Crosby and Danny Kaye and all these musical performers, these things were part of our industry from the start. And it鈥檚 been a long time since that鈥檚 been represented in pop culture. NBC took a risk with Sound of Music (2013) being the first one that was done on TV in 56 years, and it really hit a chord with people. This is so nostalgic. I think it was one of those things that people realized, 鈥極h yeah, this is a thing! This is something that we all enjoy!鈥欌��

Q: When you look back on your involvement with Jesus Christ Superstar, how do you think you鈥檒l feel about the experience?

鈥淚 am having the time of my life. I鈥檝e starred in Broadway shows. I鈥檝e done work that I鈥檓 proud of. I鈥檝e done work that I鈥檝e been challenged by and that I鈥檝e enjoyed. But nothing has felt quite like this. This means a lot to me. This musical, this score, this rock album is something that鈥檚 been in my life since I was a child. My parents introduced me to this when I was young, so it feels like home to me. To be part of the process that creates this thing for a new generation is so extremely special, and I honestly cannot believe I鈥檓 getting to do this. Just going to rehearsal every single day is exhausting and challenging for so many reasons, but it never ever, ever, ever feels like work.鈥�

Q: How did your education at 麻豆原创 help prepare you for a career in theatre?

鈥淭he Bachelor of Fine Arts track in musical theatre at 麻豆原创 accepts a certain number of students every year, so it鈥檚 a very hands-on program. You become very involved with your professors and your fellow students. Having that personal touch be my introduction to the art form was a pretty unique experience. It was wonderful and helped shape the way I look at what I do. I try to look at everything as if it鈥檚 a cohesive family unit. Each project has its own family and we all have to work with each other and for each other in order to make things happen. I think that鈥檚 one of the great things about going to a program like 麻豆原创. It鈥檚 so personal.鈥�

The live broadcast of ‘Jesus Christ Superstar’ will be 8 p.m. Sunday, April 1, on NBC.

The decision to change the play was made after the writer of The Day Before Yesterday, . Horovitz had been scheduled to attend 麻豆原创鈥檚 performance.

鈥淎s an educational institution, it is our job to instruct students how to produce and participate in theatre. However, it is also our duty to teach them to do so with integrity and respect. Upon evaluation of the situation, we have decided to replace the performance with Boy Gets Girl,鈥� said Julia Listengarten, artistic director for Theatre 麻豆原创.

Listengarten and director of production Bert Scott, with input from School of Performing Arts director Michael Wainstein, director Cynthia White, and other members of the theatre faculty, evaluated the impact a last-minute cancellation or substitution would have on students who are designing, stage managing, acting in and otherwise working on the play. Students receive academic credit for their participation in the production and it was critical that their education not be compromised.

When the team found Gilman鈥檚 play, they knew they had found the solution. There were parallel roles for each of the cast members, some of the contemporary costumes could still be used, and the set design would be a relatively simple change. Equally important, it had the ability to open up a much-needed dialogue, they said.

鈥�Boy Gets Girl is about a successful woman who has a blind date that turns horribly wrong,鈥� said Listengarten. 鈥淚t addresses the impact of sexual harassment, not just the events that happen at the moment, but how the implications are lasting.鈥�

鈥淲e are sending a clear message that we stand by people who may be in this situation. We have a zero-tolerance policy for sexual misconduct and felt it was more important to give voice to the victims rather than directly supporting this playwright at this time,鈥� said Wainstein.

There will be a forum to discuss this programming change and the #metoo movement as it pertains to the entertainment industry. The date and location of this discussion will be announced in January.

Tickets previously purchased for The Day Before Yesterday will be automatically reissued for the same performance and seat at Boy Gets Girl. Patrons wishing to cancel their tickets should contact the 麻豆原创 box office at 407-823-1500.

Event at a glance:

Boy Gets Girl

By Rebecca Gilman
Feb. 22, 23, 24, 28, March 1, 2, 3 at 7:30 p.m.
Feb. 25, March 4 at 2 p.m.
Directed by Cynthia White
Theresa Bedell is a successful reporter in New York who loves her work and the life she has made for herself. A relationship with a man would complete the picture and so she agrees to go on a blind date with a friend of a friend. Tony is attractive and funny, but Theresa isn鈥檛 sure, and after a second date she鈥檚 convinced they have nothing in common and sees no point in continuing the relationship. Tony, though, thinks otherwise. What at first seems like persistence on his part grows into obsession, and Theresa’s annoyance with Tony turns to terror as he begins to threaten her and those around her. Ultimately, Theresa must fight to save herself from being erased by Tony鈥檚 actions鈥攁ctions which call into question the assumptions at the very heart of romantic pursuit.

鈥淎 disturbing chiller 鈥� the play works powerfully at its most basic level as a suspenseful tale about the unraveling of a strong woman鈥檚 sense of security in the urban jungle.鈥� 鈥�Variety

Please join us for a post-show reception with the cast and crew following the opening night performance on Thursday, Feb. 22.
$20 standard, $10 麻豆原创 ID
Black Box, 4000 Central Florida Blvd., Orlando
407-823-1500
boxoffice@ucf.edu

Mark Brotherton, associate professor of theatre and director of the production, is presenting this production as originally intended when it was written in 1931. It was the first musical to win a Pulitzer Prize.

鈥淲e are not updating anything,鈥� Brotherton said. 鈥淚 am not trying to connect it to present day because the nation is too polarized. Everything old is new again and that speaks for itself.鈥�

Brotherton is focused on sharing the style and humor of the 1930s to today鈥檚 audiences.

鈥淚t鈥檚 fast paced. We never let the audience get ahead,鈥� Brotherton said. 鈥淭he audience must check their brain at the door. Yes, this is as stupid as you can imagine but you must believe it. Yes, love can happen in a second. Yes, French guards of the ambassador do all the sudden break out into dance. It was in the style of the day.鈥�

Sarah Schreck, a senior theatre student and dramaturg of Of The Thee I Sing, gives some background on the time that this musical takes place.

“Of Thee I Sing takes place during the Great Depression and in the middle of the dry desert known as prohibition,鈥� Schreck said. 鈥�1930 was a lovely year unless you were a farmer, a citizen with money in the bank and pretty much anyone else.鈥�

Schreck said the play is a satire not a parody. 鈥淭he two main goals of a satire are that they take themselves seriously and they make a moral judgment,” she said. “John and Mary really do fall in love. To them it is serious, but to us it is funny.鈥�

The show will be performed on the Theatre 麻豆原创 Main Stage. On opening night, audience members are invited to join the cast and creative team for a post-show reception.

Tickets are available for $20 for the general public and $10 for those with a valid 麻豆原创 ID. They can be purchased online at http://theatre.cah.ucf.edu/tickets.php or at the box office.

For more information about Theatre 麻豆原创 and the 麻豆原创 School of Performing Arts, visit .

Production-at a-Glance

Of Thee I Sing

Book by George S. Kaufman and Morrie Ryskind

Music by George Gershwin

Lyrics by Ira Gershwin

Directed by Mark Brotherton

Choreography by Mayme Paul

Oct.12, 13, 14, 19, 20 and 21 at 7:30 p.m.

Oct. 15 and 22 at 2 p.m.

鲍濒濒辞补鈥檚 26 Pebbles was created as a response to the 2012 Sandy Hook Elementary shooting in Connecticut. As a socially active individual, Ulloa felt a need to shine a light on the tragedy that changed the lives of many people in Newtown, CT. He drove to Newtown and conducted interviews with the town鈥檚 people, and the play is a composition of their words.

Theatre faculty member Be Boyd is directing the play that consists of 麻豆原创 graduate and undergraduate students. According to Boyd, the students love working on the show because they want to honor the people who were shaken by the horrific event, and support 鲍濒濒辞补鈥檚 commitment to sharing their stories.

鈥�26 Pebbles is a piece about humanity at its best and worst, but mostly its best,鈥� said Boyd, associate professor of undergraduate acting and BFA acting coordinator. 鈥淚t鈥檚 an extremely touching, interactive and educational piece about the community鈥檚 spirit, their loss and the world鈥檚 response to their tragedy.鈥�

Performances of 26 Pebbles are at 7 p.m.聽 Oct. 5-7 and at 5 p.m. Oct. 8. The show will be hosted at the Orlando Repertory Theatre, 1001 E. Princeton St. The performances are free but require a ticket. More info is available at theatre.cah.ucf.edu/events.php?id=3916.

Ancillary events around the performances include:

Thursday, Oct. 5

Pre-show events: Hosted by Orlando United Assistance Center with a focus on education

Post-show events: Talk back with Eric Ulloa and a Q&A with audience members

Friday, Oct. 6

Post-show event: Talk back with the cast of 26 Pebbles and a Q&A with audience members

Saturday, Oct. 7

Post-show event: Talk back with the cast of 26 Pebbles and a Q&A with audience members

Sunday, Oct. 8

Post-show event: Forum discussion led by Orlando United Assistance Center

During the university鈥檚 recent annual Believe campaign, Goodridge spoke at the final presentation for the program because he wanted 鈥渟tudents to understand the importance of giving back.鈥�

Perhaps that could be expected from a motivated student with a double major in theatre and business who said 鈥溌槎乖� has been my home away from home that has helped to mold me into the confident and strong individual who is going to do whatever it takes to achieve my dreams.鈥�

Goodridge, from Wesley Chapel, FL, said his mother, who works at a high school, and his father, employed at a bank, insisted that he and his two siblings attend college. His sister will begin at 麻豆原创 this fall.

鈥淭hey understood the changing times and how a high school diploma was no longer enough to secure and keep a career,鈥� he said

Goodridge chose 麻豆原创 because of its theatre program and the LEAD Scholars program, of which he is a graduate. The program provides two years of academic leadership opportunities for students committed to academic excellence and making a difference in the world, including offering their time through community service.

He said his theatrical roles on campus also have helped shape his outlook on the world.

鈥淓very role I portray I feel that I find out a little more about myself as a person. Especially as I put myself into the shoes of these characters,鈥� he said. 鈥淭he process of putting on a show comes with many life lessons about working together with others and life in general.鈥�

His roles have included the weaver whose head is transformed into a donkey in Shakespeare鈥檚 A Midsummer Night鈥檚 Dream, Romeo in Romeo and Juliet, and both Langston Hughes and Willie Joe in Spunk and the Harlem Literati, an adaptation of the play Spunk by Zora Neale Hurston.

鈥淚 love acting and theatre. I love what it represents and what it does for people,鈥� he said. 鈥淲e are able to send messages through an art form like no other and/or allow people to escape from the real world pressures of life聽to relax and experience something fun or intriguing.鈥�

Goodridge is a recipient of the 麻豆原创 Pegasus Gold聽Scholarship and the 麻豆原创 Theatre Talent Grant Scholarship. He also is a 4EverKnights ambassador, works with the 麻豆原创 Foundation to help raise money for academic programs, and has been involved with the SGA.

Outside of 麻豆原创, Goodridge is training to become an advanced actor-combatant in stage combat with the Society of American Fight Directors and he volunteers on projects at his church back home.

He recently was awarded a Region IV Comedy Actor award from the Kennedy Center American College Theatre Festival, and previously won the center鈥檚 directing award.

鈥淛osh has many skills that will help him land successfully on his feet in the field of entertainment,鈥� said Be Boyd, an associate professor of theatre. 鈥淎 lot of doors will open for him because he has had a high level of success in many areas.鈥�

Boyd said she has seen Goodridge grow from a young supporting player into a confident leading man.

鈥淛oshua has a very strong presence on stage and has proven he is not only a good comedian but an actor with depth as well,鈥� she said.

After Goodridge graduates in December, he said he plans to continue performing Shakespeare and other roles and eventually move into film and television acting.

鈥淚 cannot wait to come back to 麻豆原创 in 5 to 10 years and just see how much it has grown,鈥� he said. 鈥淚 plan on being a part of and supporting聽the 麻豆原创 community for a very long time.鈥�