A Tradition of Excellence. . . tJu' UM•'I'IIIIIT'I'TMIAfiiC
CB The !ft By Anton Chekhov ter ~ rc~rd April 29 - May 2, 1999
Texas Tech University Theatre Mainstage
$10 Tickets & Information 742.3603
And the family entertamment tradition
continues with the 1999 season of
Summer Rep shows!
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$8 Tickets & Information 742.3603
Department of Theatre and Dance P.O. Box 42061 Texas Tech University Lubbock, TX 79409-206
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PAID Lubbock, Texas Permit No. 719
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by Anton Chekhov
Texas Tech University Department of Theatre and Dance
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Faculty
Dr. Norman Bert, Chair Pro£ Frederick B. Christoffel Dr. Linda Donahue Dr. Jonathan Marks Pro£ Diana Moore Pro£ Elizabeth Pollard Pro£ Gearld Roe Dr. George Sorensen, Emeritus Dr. Dean Wilcox Pro£ Peggy Willis-Aarnio
Graduate T~ Assistants and Part-Ttme IDStrtiaors Sally Allen Jim Bush*/** Stephen Carpenter Kathryn Cofeman** Velicia Daniels Jack Favere Hans Frank Joshua Gibson Geoffrey Howard** Tiffany Howard Shannon Kirgan
Tobyn Leigh* Sara Martwig Michad Moore Trey Mikolasky MirandaNi Katherine Perrault* Todd Profitt** Louise Stinespring Sandra Swan Keith West*/** Patrick White** BethWmtour
University Theatre Production Staff
Director ofTheatre Director of Front-of-House Operations
Audience Development Director Business Manager
Department Secretary Technical Director
Costume Shop Supervisor Master Electrician Properties Master Scene Shop Staff
Costume Shop Staff
Lab Theatre Producer Promotion/Publications Director
Promotion Team
Box Office Manager Box Office Staff
House Supervisor House Managers
Frederik B. Christoffd Linda Donahue Lisa Devine Rick Tuman Mary Cervantes Robert Gandrup Robin Pozen* Todd Proffitt** Shannon Kirgan Jia-Hua Chin, Kathryn Coleman**, Jack Favere, Josh Gibson, Lee Kirgan, Shannon Kirgan**, Rhinehart Pierce**, Laura Polcer**,Todd Profitt**, Patrick White** Ruth Barrington, Stephen Carpenter, Chuck Clay, Tiffany Howard, Allyson Keslin, Rachel McCain, Miranda Ni, Jamie Sorley Beth Wmtour Keith West*/** Sally Allen, Tobyn Leigh*, Michad Moore, Patrick White** Trey Mikolasky Sally Allen, Hans Frank, Geoff Howard, Chrissy Johnston, Alison Menefee, Miranda Ni, Sandra Swan Katherine Perrault* Michael Brennan, Deanna Daniel, Jadarric Davis, Rachel Greene, Christina Hernandez, Lorri Hobson, James Jose
*member · A//Jba Psi Omega, national honorary theatre fraternity **member · f!nited States Institute for TechniCal Theatre (lJSIIT), ITlJ Student Chapter +member· Chi Tau Epsilon, natioiia/ honorary dance society, Beta chapter
The Department of Theatre and Dance is a member of the Associotion for Theatre in Higher Education, the texas Educational Theatre Associotion, Texas Nonprofit Theatres, the SOuthwest Theatre Associotion, and the American College Dance Festival Associotion.
Texas Tech University Theatre
presents
The Cherry Orchard by Anton Chekhov
The Cast Lyubov Ranevskaya, a landowner
Anya, her daug~lter Varya, her aClopted daughter
Leonid Gayev, Lyubov's brother Yermolai Lopakliin, a merchant
Pyotr Trofimov, a student Boris Sem_yonov-Pishchik, a landowner
Carlotta lvanovna, a governess Semyon Epihodov, a clerk Dunr~lia, a housemaid
Fus, a man-servant Yasha, a man-servant
Tramp Station Master
Sonya, a servant Natasha, a servant
Ariana, a servant Krychek, a servant
Karp, a servant Nikita, a servant
Staz, a dog
Tobyn Leigh* Amanda Marie Johnson Heidi Hargrove* Dan Donahue Ryan E. Barbe* Austin Matthew Sanford Keith West*/** Velicia Daniels Chuck Clay*/** Alison Menefee Jack Favere Mark Van Fleet Patrick A. White** J.P. Shanks* Christi Skinner Andrea Patton Jennifer Hilbers 'fhomas Sullivan Cary Harris Patrick A. White** "Geppetto" Bert
Directed by
GearldRoe Scenic Designer
Frederik B. Christoffel
Lighting Designer
DeanWtlcox
Dramaturg
Tdfany Howard
Costume Designer
Elizabeth A Pollard
Sound D esigner
Jim Bush*/**
Choreographer
Diana Moore
The taking of photographs, with or without flash, and the use of audio or video recording equipment are violations of copyright law and strictly prohibited. Food and drink are not allowed in the theatre or the lobby. Smoking is prohibited anywhere in the building. Late-comers will be seated by the ushers at the first appropriate interval during the play. For the enjoyment of all patrons, if you have a paging device, please
turn it off or leave it, along with your seat number, with the House Manager, who will locate you with your message. Please turn off wristwatch alarms and cellular phones.
Artistic and Production Staff and Running Crew ~~.i>!?..l:~ii~;:r.;,K:_~:t;;~!.~.~l:f'!.·~~~~~)?..\l?-~~~~$:~7::.fi.t:!~~U:b~~~~~~"~l«.~W.~~~~t:..:.·JuJi
Stage Manager Asst. to the Director
Props Master Vocal Coach/Russian
Hair/Makeup Asst. Lighting Designer
Animal Wrangler Lights and Sound
Set and Props
Costumes
House
"Can You Remember" Music & Lyrics
Special Thanks
Whitney Frazier*/** Kim Bigsby Shannon Kirgan Marijane Wernsman Robin Smith Michael Brennan Deb Bert Deanna Daniel Jadarric Davis Aaron Mastriani Emmanuel Onuma Chrissy Johnston Erin Gammill Lori Hobson Christina Hernandez Deanna Daniel Brandi Blodgett Laura Polcer Deb Bert Gerry Roe
Dr. Anthony Qualin; Deanna Daniel; Dr. Steve Paxton; Pro£ Diana Moore; Charles Grace; Greg ~ee CJY,Craft; Williams Kerns, The Lubbock Avalanche Journal; -Marfene ohnston+ J.-ubbock Magazine; D.K. Moon, The Capr_ock Sun; KO M;The university, Daily; Dr.
Jonathan Marks; Dr. Norman Bert; Deb Bert; Dr. Linda Donahue
There will be a fifteen-minute intermission.
Circle Familv ··· We would like to thank the following for their special contributions to Texas Tech University Department olTheatre and Dance.
Actor's Circle Don & Robin Parks
Star's Circle Dr. Ralph & Vivian Bravoco Dr. Linda Donahue Bill M. Kent Basil & Carroll Melnyk Bryan C. Rudy Dr. Henry & Sellie Shine Albert Skibell William Warnick Robert J. Waugh
From the Dramaturg ~M-:."X-,.::._·7/)~f.!..-l~~~g'f~~~.eN..~f'~~~~{;?~:~-t:>:~~~~-.:..'tp;~.:;";ov.:;~·l:G.."f>J~sn~#t!.~·.\!::;
The Cherry Orchard was written by Anton Chekhov in 1903, and was his last play. Set in Russia during the end of the Nineteenth Century, it describes a country dealing with change, ranging from industrialization to government and the class system. Chekhov shows the audience a glimpse of a family which is dealing with this tumultuous time.
The class system of the time was composed mostly of peasants (81.5% of the total population); the other levels included town dwellers (9%), military estates (6.5%), clergy (1 %), and gentry (1 %). Prior to 1861, only people who owned serfs could own land, and only gentlemen could own serfs, thus restricting any land ownership to the gentry class. Later, men could become a member of the gentry class by achieving a high rank through military or civil service. In The Cherry Orchard, Lopakhin is the son of a former serf who becomes a land-owning man, which clearly shows the changing times of Chekhov's Russia.
A question that anyone producing The Cherry Orchard must decide is whether or not to focus on the drama in the story, or depict it as a comedy. There is some controversy surrounding the premiere performance of The Cherry Orchard. The leading man saw this play as dramatic and solemn, while Chekhov himself always thought of the play as a broad comedy that should not make any audience member cry. To add to this behind-the-scenes drama, the leading actor was none other than the father of modern acting, Konstantin Stanislavski. Chekhov, anything but pleased with his final production, died soon after. Even modern productions must consider what they wish to convey to their audiences.
Tiffany Howard
From the Director Last summer I was offered a lovely gift from Texas Tech in the form of a contract. The terms of the contract provided me with the chance to teach acting in the Department ofTheatre and Dance, and the rare opportuniry to direct Anton Chekhov's The Cherry Orchard. Motivated by my passion for the play, I left Montana where, for the past twenty years, I have taught theatre at Rocky Mountain College. The mysterious magnetism that this play holds for me is obsessive and perplexing.
Too often we limit our persp(!ctive of literary works because of the labels attached to them. Because Hamlet is labeled a tragedy, we often overlook the rich humor that is in it. More often than not, authors strive to stress a universal truth with litde regard to whether they are writing comedy or tragedy. Even though The Cherry Orchard was labeled a come_<!y by its author, the heart of its many comedic moments is shrouded in P.ain. To be successful in directing this play, I found that I had to enhance the humor, allow the pain to surface, and yet somehow blend both into a cohesive whole.
Whatever label you choose to give it, the play revolves around many themes; perhaps the most pronounced 1s our inability to re~a!'ture the past. Thomas Wolfe suggests that you can never go home again. We cannot recapture our previous ways of life, only acknowfedge and embrace our precious memories and go forward. At several moments m the pl~y, Chekhov emphasizes this theme by incorporating a broken harpstring effect as a symbol of breaking with the past.
Another closely related theme involves the industrialization of Russia and its effect on the various classes, in particular the aristocracy. Because of the "scientific revolution" and the Great Emancipation, the pampered world of Lyubov, Gayev, and Anya has been destroyed, leaving their current existence in question. Where do they belong? In many ways their lives parallel the tragedy happening in Kosovo today.
The play is built upon relationships. Because of the twisted past of each of the characters, the1r lives in the present and future change constandy. Their inability to accept those changes creates a major conflict in the play. Chekhov has empowered each of his cliaracters with universal truths, wh1ch are very specifically drawn. Characters are neither good nor bad, but a combination of both, making each unique. •
At any rate, The Cherry Orchard is a play that must be taken on its own terms. The cast, the designers, the crews, and I have spent many hours defining those terms in our own way:s. We only ask that you enjoy the show in your own way. Laugh if you wlll, cry if you will. Tlie mixture of both is our loving gift to you th1s evening.
Gerry Roe April, 1999
The 1999-2000 Mainstage Season ··-~· ·\,., :~ "~~.:~· :.:· r.::-r·-~1-;>/;.:.;i:~::l;~..,:- ··· ' .. · · · ": ; · :·~·- . ·.~'!_;.· ·:. .. • .... :.: ¥:7~7.i~·:·i'l~f..:~~7_·~~;.~~~~-. ·::~-/-:--;..:. ·:·~-. .• ~H~=~~< ;;f~:;~?i
HAIR October 15-17 & 22-24, 1999 Book and Lyrics by Gerome Ragni & James Rado Music by Galt MacDermot The American tribal-love rock musical that re-defined musical theatre.
Picasso at the lapin Agile November 19-21 &26-28, 1999 By Steve Martin A wild and crazy _play revolving around an imaginary meeting between a passionate Pablo Picasso and a fiery Albert Einstein. A hilarious battle of ideas about painting, probability, lust, and the future of the world.
Cat on a Jfot Tin 1(poj February n-o & 18-2o, 2ooo By Tennessee Williams • B1g Daddy and his conflicted, greedy family come alive! A Theatre Classic!
RHYTHMIC FLIRTATIONS: AN EVENING OF PERCUSSION AND DANCE April7-9, 2000 Choreographed and Directed by Diana Moore MusicafD1rection by Alan Shinn and Lisa Rogers This extravaganza promises to be an exciting showcase of dynamic dance and comedic talents!
1 he d/(J.Ud,e, o/r /Jfue 1 eatJ.f!/.i April 21-23 & 28-30, 2000 !3y John Guare The farce that combines an aging wokeeper/songwriter, a meddling upstairs mistress, a cuckoo wife named Bananas, three sightseeing nuns, and the Pope!
-------------------------------------------SUBSCRIBE NOW-$34 FOR SIX PRODUCTIONS Four Mainstage plays and a dance show, PLUS a FREE Lab play!
And the best seats in the house!
For season tickets and other information, call: (806). 742-3603
or ask any box office personnel for forms
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University Theatre presents: subscribe The 1999-2000 Mainstage Seasonl
Now!! Four Mainstage plays and a dance show, PLUS a free Lab play!
And the best seats in the house!
Hair Book and Lyrics by Germone Ragni & James Rado Music by Galt MacDermot
October 15-17; 22-24, 1999
The American tribal-love rock musical that re-defined musical theatre!
Picasso at the Lapin Agile November 19-21; 26-28,1999 By Steve Martin An imaginary meeting between a passionate Picasso and a fiery Einstein turns into a hilarious battle of ideas about painting, probability, lust, and the future of the world.
Cat on a Hot Tin Roof February 18-20; 25-27, 2000 By Tennesee Williams Big Daddy and his conflicted, greedy family come alive! A don't miss show!
Rhythmic Flirtations: An Evening of Percussion and Dance April7-9, 2000 Choreographed and Directed by Diana Moore Musical Direction by Alan Shinn and Lisa Rogers This extravaganza promises to be an exciting showcase of dynamic dance and comedic talents.
House of Blue Leaves April 21-23, 28-30, 2000 By John Guare The farce that combines an aging zookeeper/songwriter, a meddling upstairs mistress, cuckoo wife named Bananas, three sightseeing nuns, and the Pope!
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by Richard Privitt
L a s t donotknowwhattodotochangethestatus month and. this quo. In the Three Sisters; the title charac-month local the- ters, who have been drer.ming of moving to aiJeS are produc- Moscow throughout the entirety of the play, ing works of · · areleftwithnooiheroptionbuttoconti.nue Anton Chekov, a that dream, knowing that there is little hope Russian play- .of the dream being fulfilled. wright who While we laugh at the foolishness of bridged the de- these three, we are moved by the humanity cades between evoked in their helplessness to change. imperial Russia I tend to think that Chekov's world is and Russia. similar to living on the South Plains, and I Anton Chekov tend to think the alienation, frustration, and
was a medical doctor who witnessed the resignationthathischaractersoftenembody foibles of the Russian people firsthand and arc due to people, ideology, and events that who wrote about their hopes, fears, and fol- are present in our own pioneer culture. Just lies in a way that is simultaneously comic and as strong are"the characters' convictiOns and compassionate. struggles to ·make their immediate world
How he observed and recorded the better. In other words, I find the works of breadth of the · human condition from laugh- Anton Chekov an excellent study of our-a to tears is made even more remvkable selves. Forthose readers who are put off by when one considers he was writing overahun- · "period" or "classic" theatre, put your pre-dred years ago. . conceived notions aside. Instead, listen to
That his plays about a very specific cui- · the sighs of ennui, the licking of the clocks, lure and a very uniq~.~e -time resonate in our · and I~ sou!K'5 of the landscape. Here are hearts today isnothingsho~ ofamazing.-;SJlll'-' ·•••.911r JiV~I!l~:.AAu~out in the lives o~tage,' . cifically, he forces us to look at the lives of a · full of hopes and dreams, realized or society In transition from the past to the fu- shattered, large and small, but always con- .. turc. · · tinuing until the last breatlds taken. ·
He creates a baffling and often poignant Did I mention that Chekov is also present populated by characters who simply funny?
A Month of Theatre . ..
BALLET FU1URA
Directed and. Choreographed by Peggy Wlllls-Aamio Aprtl8-11. 1999 ~
By Anton Chekhov April29 - May 2. 1999
Texas Tech University Th~atre Mainstage $10 Tickets & Information 742.3603
Tho ol<iost continuing theatre on the Soutt1 Plains
Still groat after 70 ycnrs!
. Chekhov's ,·classic:--'l'lle Cherry Ordlard
!he turn of centuries usually brings about an apprehension of change: attempts to gaze ahead into an uncertain future often yield to a yearning for the past, the way things were, resulting into resignation that they can never be that way again. · Such considerations are the hallmark of the work of Anton Chekhov, whose final play, The Cherry Orchard, takes the Texas Tech University Mainstage April 29 - May 2.
Visiting Professor of Acting. Gearld Roe says the opportunity to direct the play drew him to take the one-year position at Tech. . .
"Chekhov intended his work to be per- . formed as a comedy, with Stanislavski and
ing, "a
babies foolish, "And all
"We all constantly in the past, fact that we are at the turn things_ hav~ changed in the past SO years. we laugh attnat," says· Roe. · • ..
"And there's the tincle who's just little bit 'off.' His safety device is an imaginary pool game he plays when he gets backed into a co_rner, incessantly talking about things that the younger generation."
Set in 1904, the play depicts a that had just gone through a great _tiQn, just like in America. Only in was an aristocracy who believed they were the chosen few. Once the serfs were freed, the two classes were left standing in the middle of barriers created over centuries and broken in minutes, wondering how to cope, struggling to form a new and uneasy co-existence. There was a new middle merchant class springing up, and a lot of pre-Revolutionary people angry about a
• failed system. · "Chekhov's plays have representations
of all these groups," says Roe. "One of his great strengths as a playwright lies in showing the foolishness, the humanity of all of them."
· The Cherry Orchard tells the story of 1 landowner, Madame Ranevskaya, who has returned to her homeland a&r a fruitless attempt to escape her troubles by NMing to Paris. Once
the holder of a great fortune in the estate, she finds that changing times have left her penniless, and the cherry orchard, famous for its size, must be sold for back-taxes. Arriving in the spring, Ranevskaya's story is told in four scenes over the changing four seasons. She rejects the only reasonable solution presented to her, becauSe it means changing the only way of life she knows.
"The play is about "accepting changes; people so involved with their own little lives that they don't see the big picture," says Roe. And when the big picture
. happens, as it must inevitably, they are left
casl includes Tobyn Leigh as Ranevskaya, Dan Donahue as her
Gavev, Amanda Johnson as Anya, Heidi "Hargrove as
Varya. Ryan Barbe plays merchant Lopakhin, Austin
student Ti-ofimov, Keith West landowner Pishchik, Velicia
QO\rerriCSs Carlotta, Chuck Clay clerk Alison Menefee as
serving girl Dunyasha, Jack Favere as houseman Firs, and Mark Van Fleet as man-servant Yasha. Other cast members include Pat White, Cary Harris, Jennifer Hilbers, An· drea Patton, J.P. Shanks, Christi Skinner, Thomas Sullivan and Geppetto Bert.
· The Cherry OrcluJrd plays on the University Theatre Mainstage April 29 -May 1 at 8 PM, with 1 matinee at2 PM May 2. Tickets and information are available at the University Theatre Box Office, 18th · Street between Boston and Flint Avenues, or by calling 742-3603 between noon and 5:30 PM·Monday through Saturday. General Admission tickets are $10; Tech students with a valid. ID pay $5. Reservations are available with major credit cards.
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Cherry Orchard closes Mainstage season
The Texas Tech University Theatre will present three productions during the month of April, including a Mainstage
dance performance, a Lab Theatre collection of one-act plays, and a Mainstage full-length play.
Ballet Futura: Before, Now, and Always, is an evening of different styles of ballet ranging from Modem and Jazz to Classical from the past to the future. A number of original ballets by Professor Peggy Willis-Aamio, including How's About it Love?, a jazz ballet, and Twin Flame will be performed. The evening will also feature the one-act ballet Gaile Parisienne, complete with can-can dancers, full sets, and costumes. Appearing in the performance will be guest artists Maxime Bondar from the Kirov ~allet and Elena Chohina from the Saint Petersburg Ballet. Ballet Futura can be seen on the TTUT Mainstage, April 8- I I .
The Department of Theatre and Dance will continue its efforts to foster new playwrights with the second ~nnual Raider Red's One-Act Play Spectacular, at the Lab Theatre on April 12-18. Plays selected forth is year's series. include: The Charleston, Inferno, Mrs. Rex, The Chair, Fouled, Vidiot, and This is Not a Play. In addition, A Martian in the White House was chosen to be performed by TTUT at the Lubbock Arts Festival on April 17.
According to Beth Wintour, Lab Theatre producer, "The event offers new playwrights an opportunity to work with student directors and designers. A new play forum offers a collaborative, interactive. environment for the playwright to evaluate his or her script with actors, directors, designer, and audiences."
The 1998-1999 Mainstage season wil i close with Anton Chekhov's The Cherry Orchard, a comedy directed by Visiting Professor Gearld Roe. It tells the story of a family who return to their estate in Russia, only to find it for sale due to back taxes. Because of their upbringing, they refuse to live in the present and face this problem. .
Roe says the play is a big cycle; "It's a four act show, beginning in spring, and continuing through summer, fall, and concluding just before winter. We see the cherry orchard through a window as it goes through its various changes. The play is about accepting changes. It's about people .so involved with their petty little lives they don't see the big picture, and when the big picture happens, they simply accept it without a fight."
Tickets for Ballet Futuro and The Cherry Orchard are $10, with tickets to Raider Red's One-Act Play Spectacular at $8. Student and group discounts are available. For reservations or information, call the TTUT Box Office at (806) 742-3603 .
Evening of Rodgers and Hal_llmerstein Gala benefits Celebration of Recovery Week
The Center for the Study of Addiction at Texas Tech University announces Celebration ·of Recovery Week. The purpose
of the week is to generate awareness of the Center and its purpose and services, and to raise funds for the operation of the Center.
A Breakfast Celebration will be held on Wednesday, April21, at 7am at the Merket Alumni Center. The speaker for this breakfast is Kitty Harris, and the Masters' of Ceremonies are Randall Caviness and Bymie Bass.
The week continues on Thursday, April 22 with the inaugural Leadership In Recovery Awards luncheon. The luncheon begins at 11 :45am and is at the Knipling Conference Center at Methodist Hospital. Honorees include Dr. Carl Ander-
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son, Dean Elizabeth Haley, Brenda Hobbs and Tommie Hatch. The featured speaker will be J.C. Chambers and the Master of Ceremonies is Ed George.
An Evening of Rodgers & Hammerstein Gala is the week's finale at 7:30pm. on Friday, April 23 at the Cactus Theater on Buddy Holly A venue. The show will be a musical revue of Rodgers and Hammerstein musicals including The Sound of Music, South Pacific, Oklahoma!, Carousel, and The King & /.
· The cast includes Beverly Newsom, Mike Morgan; Patti Honacki, David Jones, Kelly Bohannon, Zan Moore, Audrey Duncan, Terry Hawkins, Mark Gamer & Brandon Bohannon. Live auction items will be presented during breaks in the show. A dessert reception will take place after the show at the 19th Street Warehouse. .
Tickets may be purchased by calling the Center for the Study of Addiction at 742-2891 . Donations for all three events are tax deductible in accordance ~ith federal tax laws.
The mission of the Center for the Study of Addiction is to help recovering students become productive, responsible members of society; to provide training for addiction counselors, and, to provide resources for research and original work in the addiction field . The Center is involved in community building. It embraces any ceremony, experiential, ritual or teaching that fosters sober, authentic living. For information contact Patti Honacki at the Center for the Study of Addiction at 742-2891 .
page45
I THEATER CALENDAR Music Notes
directed by Don Caldwell, Terri Caldwell and Jane Prince-Jones
featuring Terri Caldwell and Jane Prince-Jones
May 14, 15, 21, 22, 28, 29 all perfonnances at 8pm
Cactus Theater 1812 Buddy Holly Avenue
762-3233
directed by Patti Honacki ~usical direction by Gary Belshaw
May 15, 21 & 22 . • , I'
all perfonnances at 7:45pm except Sundays at 2:30pm
Garza Theater in Post 495-4005
••••••••••••••••••• • STENOCALL AUDITION HOTLINE :
•
(806) 7 66-7868 s~nd audition anounum~nts to
Lubbock Magazin~
• • • • • • •••••••••••••••••••
tlllll'\ 1/1/(/ filii£'\ \lthil'( I (II ( IIIII/::('
directed by Gary Bellair featuring Douglas Jones, Pablo Annijo, ·
Mira Goode, Mary Saathoff, Rebecca Saath~ff, Nan Honeycutt, Ron Meadows, Mary Lee Bybee, Page Fillipe, Kathryn Lukens, Dennis Cogan and Sean Jones
May 1, 2, 7, 8 and 9
all perfonnances at 8pm . except Sundays at 2pm
(..ubbock Community Theater 1924 34th Street .
741-1640
directed hy Gerald Roe featuring Tobyn Leigh,
Amanda Johnson, Heidi Hargrove, Dan Donahue,
Ryan Barbee, Alison Menefee, Andrea Patton, Cary Harris
& Velicia Daniels ·
April 29 - May 2 all performances at 8pm except Sunday at 2pm
Texas Tech University Main Stage 742-3603
CACTUS THEATER
On May 8 at 8pm, Rusty Hudelsan's Knights of the West will return to the Cactus Theater for an evening of entertainment. Musical offerings include piano, instrumentals, singing and yodeling. A "real live" cowgirl teaches how the cowboy learned to yodel. Schahara Hudelson will pay tribute to songwriters Redd Stewart and Buddy Holly.
SOUTH PLAINS COLLEGE
The Bum Steers will wrap up their performance season on May 3 for South Plains College's Country Fest. This will be broadcast live at 6pm on SPC-TV.
South Plains College presents Bluegrass Fest at 7pm on May 8 on SPCTV broadcast .from Tom T. Hall production studio in the Creative Arts Building .
LISD JAZZ IN THE PARK
The 19th Annual LISD Jazz in the Park will be staged on Tuesday evening, May 11 at Wagner Park, located at 27th and Flint A venue. Nine LISD jazz bands will perform, beginning at Spm and ending at 9:30pm, with free admission. Everyone i~ urged to bring a lawn chair or blanket and enjoy an evening of live entertainment and great fellowship .
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