By Kate Hamilton Greeted by old-fashioned microphones, a piano, and an illuminated APPLAUSE sign, this February, the audience in the Helen Wayne Rauh Studio Theater was transported to 1940 to serve as the live studio audience for the Burns & Allen radio show. John Wells Directing Fellow Rachel Karp’s It’s in the Bag used comedienne Gracie Allen’s prank presidential run to track female presidential candidates through history. The result? A

by Pravin Wilkins Dark Play, by Carlos Murillo, tells the story of Nick, a friendless teenager who—in his isolation—turns to online chatrooms. What begins as a prank against Adam, another teenage boy whose online profile states that he “wants to fall in love,” morphs into a dangerous quest for acceptance through deception and manipulation. I had the opportunity to sit down with Director Adil Mansoor to parse through his team’s

CMU alumnus, director Rob Marshall lifts spirits and sets toes tapping with his Academy Award-nominated film “Mary Poppins Returns” By Joyce DeFrancesco Email Behind-the-scenes footae of the filming of “Mary Poppins Returns,” directed by School of Drama alumnus Rob Marshall. When Carnegie Mellon School of Drama alumnus Rob Marshall (A 1982) talks about the success of his latest big screen musical, “Mary Poppins Returns,” he doesn’t linger on the positive reviews, awards and

Peter Cooke AM, Ph.D., head of the School of Drama was a largely quoted expert in Backstage magazine’s recent story titled “The 2019 Theater Trends You Should Absolutely Know:” Peter Cooke, the head of Carnegie Mellon’s School of Drama is here to help. Of course, helming one of the most influential performing arts programs in existence today, Cooke knows what he’s talking about. “As we look to the year ahead in theater,

January 18, 2019 By Erin Keane Scott E Geoff Marslett’s film, “The Phantom 52,” has been selected for the “Animated Short Films” category at the 2019 Sundance Film Festival, which takes place Jan. 24-Feb.3 in Park City, Utah. Marslett is an associate professor of film and television in Carnegie Mellon University’s School of Drama. “It feels a bit like buying a lotto ticket, but you hope,” said Marslett of his sixth attempt at submitting

  Detroit ’67, by Dominique Morisseau, is the story of a tight-knit group of working-class black people—Chelle and Lank, brother and sister, and their friends, Bunny and Sly—who live in a deeply segregated Detroit. Their lives are interrupted and, ultimately, forever changed by the riots that take their community by storm and by the sudden appearance of the mysterious Caroline, a young white woman whom Lank takes in after having

“Feel free to take a selfie,” the ushers chimed to guests entering the Helen Wayne Rauh Studio Theater, indicating three photo booths in front of a silver tinsel curtain, set for Philip Gates’ A/B Machines, adapted from the work of Pittsburgh native Andy Warhol. The tinsel dropped to reveal the three performers: Hagan Oliveras, Henri Fitzmaurice, and Patrick Davis, spotlit amidst a visual homage to the 1960s and it was

Kaytie Nielsen, an alumna of Carnegie Mellon University and international filmmaker, is adding to her impressive list of credits. The 2016 graduate is the fourth CMU student to earn the highly selective international Marshall Scholarship, which funds up to two years of graduate study in the United Kingdom. Nielsen, who earned her bachelor’s degree in humanities and arts with concentrations in creative writing and drama, plans to study screenwriting at the National Film and Television

  Kayla Stokes, a senior BFA directing student, and her creative team produced a moving production of Amiri Baraka’s famous 1964 play, Dutchman. The piece dissects the interaction between a black man and a white woman on a New York Subway car. Their conversation escalates throughout the ride, culminating in a violent end. We sat down with Stokes to discuss how representation of race and gender are critical aspects of