USD Magazine, Spring 1999

"Despite the busy schedule, we're not a boot camp

We have a reputation as a welcoming, compassionat

nurturing place."

It's why budding actors who have a shot at longstanding programs such as Harvard or Yale often make USO their first, or only, choice. "Students who want to be classical actors choose USO because other programs are less classically oriented," says Hill-Sparks, "Beyond that, I think they are very affected by the auditions. We take the time to find out about them and talk to them, and they know they'll find a supportive environment here."

... AND MAKING IT RISE It's not just a nice place to learn, though. It's a place to work, period. The four-minute audition for the program may seem tough, but it's probably the easiest part of the two years that fol– low. The first-year class often begins work at the Old Globe in the summer before its first academic semester, and the pace never slows. Since USO's master of fine arts is reserved for actors only - the university does not train directors or design– ers - these seven students are always the center of attention. It's an ideal situation for those ready to learn by doing. "I had one major goal when I got here, and that was to have a featured speaking role in an Old Globe production," says second-year student Leslie Kalarchian, whose wish came true last year when she played Phoebe in As You Like It on the Festival stage. "I've grown a lot in terms of technique and self– confidence and I've learned from some of the best actors, but the ability to audition, perform and understudy for shows is the most beneficial part." The experience has another payoff. When they graduate, the students have put in enough time to earn their place in the Actors' Equity Association, the national union for actors. Membership in that organization may validate them in the eyes of their peers, but chances are they'll never again get the kind of assistance from other actors that the program encourages. "As an understudy, you go to rehearsals, sit in and talk to the actors about how they approach their roles," says James Konicek, a first-year student from Wisconsin who hadn't heard about USO until a director suggested the university to him.

Brian Hutchison (left) and Richard Easton

"While the program helps us grow by placing us in the kinds of roles we need to practice, we're watching and learning from the people we admire." Konicek isn't alone in appreciating the opportunity to work alongside veteran actors in a collegial environment. Each stu– dent grabs as much as they can from the experience. They return the favor to the university with three on-campus produc– tions a year, performed in the program's theater space in Sacred Heart Hall. Scenery and costumes for the productions are designed by Old Globe artists, and guest directors from around the country are brought in to complement the permanent staff. The on-campus facilities are rudimentary and cramped, but Seer envisions a larger and more modern space that will allow the program to flourish in the future. "Right now we're competing against schools with major performance venues, so often we're limited in the scope of our productions," he says. "As the program gains recognition, we want to have the kind of performances on campus that will bring national attention to the university."

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